[LUTE] Re: This list is ending soon!

[Lex van Sante]

   Hey Wayne,

   Thanks for creating and maintaining this list for such a long time.

   I am sure it will be sorely missed by all with an interest in the lute
   and allied instruments.

   Thanks again and stay healthy!

   Lex.

   Op 30 sep. 2020, om 12:11 heeft Wayne Cripps <[1]w...@cs.dartmouth.edu>
   het volgende geschreven:

   Hi Lute People -
The Dartmouth lute list is ending in less than three hours.  I
   certainly have learned a lot from all of you and I thank you all for
   taking part in it.
Wayne
   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:w...@cs.dartmouth.edu
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A Pavan

[Lex van Sante]

February 15th is 16 days after Charles I was beheaded. Perhaps this pavan was 
composed to commemorate his funeral on February 9th.Thomas Tomkins was a 
devoted Royalist so perhaps that was his reason for composing this magnificent 
piece.


Cheers!

Lex




> Op 31 mrt. 2020, om 19:51 heeft Alain Veylit  het 
> volgende geschreven:
> 
> "these distracted times" referred to the Civil War.
> 
> 
> On 3/30/20 5:29 PM, Tristan von Neumann wrote:
>> ..for these distracted times.
>> 
>> (Thomas Tomkins)
>> 
>> 
>> https://www.youtube.com/watch?v=0z2BEKuWANA
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 


--

[LUTE] Re: Milan's name

[Lex van Sante]

   Dear all.

   Jordi Savall is a promoter of  Catalan culture an language. As
   Valencian language is closely allied to Catalan he apparently saw no
   problem in catalanizeing ;-) Milan's name.
   Cheers!
   Lex van Sante

   Op 8 jan. 2020, om 09:55 heeft Mathias Rösel
   <[1]mathias.roe...@t-online.de> het volgende geschreven:

 Antonio did not postulate. He pointed at evidence.
 Are you talking of "alternative facts" of the kind the current POTUS
 and his party buddies make use of?
 I seriously want to know what made someone like Jordi Savall use a
   name
 that Don Luys Milan never used. I don't suppose Savall was calling
   him
 names.
 Mathias
   __
 Gesendet mit der [1]Telekom Mail App
 --- Original-Nachricht ---
 Von: Roman Turovsky
 Betreff: [LUTE] Re: Milan's name
 Datum: 08.01.2020, 1:28 Uhr
 An: Mathias RÃ �sel, Lutelist
 Because they lend credence to alternatives of Antonio's
   postulates!)))
 RT
 On 1/6/2020 12:34 PM, Mathias RÃ �sel wrote:

 Why is that? Let others do as they please. I should only be curious

 why

 they did so.
 Mathias
 __
 Gesendet mit der [1]Telekom Mail App
 --- Original-Nachricht ---
 Von: [2][2]r.turov...@gmail.com
 Betreff: [LUTE] Re: Milan's name
 Datum: 06.01.2020, 18:06 Uhr
 An: Mathias RÃÆÃ �sel
 Cc: Lutelist
 Someone should send a cease order to Jordi Savall and all the
 other performers who put De Mila'n on their CDs!
 RT
 
 [2][3][3]http://turovsky.org
 Feci quod potui. Faciant meliora potentes.

 On Jan 6, 2020, at 11:08 AM, Mathias RÃÆÃ �sel

 <[3][4][4]mathias.roe...@t-online.de> wrote:

 à �à �à � Dear Antonio,
 please rest assured, no more evidence is demanded. Don Luis Milan

 was

 and is his name, and he's not from Milano.
 They're making fun of it, or so is my impression.
 Mathias
 __
 Gesendet mit der [1]Telekom Mail App
 --- Original-Nachricht ---
 Von: Jurgen Frenz
 Betreff: [LUTE] Re: Milan's name
 Datum: 06.01.2020, 15:17 Uhr
 An: Antonio Corona
 Cc: [4][5][5]lute@cs.dartmouth.edu
 Here is the collection of names for SeÃÆ Ã �or Luys from the online
 Petrucci library, for what it's worth:
 ÃÆÃ � Ã �
 Alternative Names/Transliterations: MillÃÆ Ã �n, Luys Milan, Luis

 de

 MilÃÆ Ã �n, LluÃÆs del MilÃÆ
 ÃÆÃ � Ã �
 Name in Other Languages: Luis de MilÃÆ Ã �n, ÃÆà � à �ÃÆà 
� à �ÃÆÃ

  � à �ÃÆà � à �ÃÆà �ÃÆà � à �ÃÆà �ÃÆà �

 à �ÃÆà � à �, LluÃÆs del

 MilÃÆ , ÃÆÃÆ Ã �ÃÆ Ã �ÃÆ Ã �ÃÆ Ã �, ÃÆÃÆÃÆ 
à �ÃÆ ÃÆ Ã �ÃÆ Ã �,

 ÃÆÃÆÃÆÃÆ Ã � ÃÆ Ã �ÃÆ ÃÆÃÆÃÆÃÆ Ã �ÃÆ

 ÃÆÃ � Ã �
 Aliases: Luis de Milan, Luys de Milan, Luys de MilÃÆ Ã �n, LluÃÆs

 MilÃÆ ,

 Lluis Mila, Luis Milan, Lluis MilÃÆ , LluÃÆs Mila, LluÃÆs de MilÃÆ

 , Luys

 MilÃÆ Ã �n
 --
 "Close your eyes. Fall in love. Stay there."
 JalÃÆl ad-DÃÆ Ã �n Muhammad Rumi
 ÃÆà �ÃÆà �ÃÆà �ÃÆà �ÃÆà �ÃÆà �ÃÆà � 
Original Message ÃÆà �ÃÆà �ÃÆÃ

  �ÃÆà �ÃÆà �ÃÆà �ÃÆà �

 On Monday, January 6, 2020 6:41 AM, Antonio Corona
 <[2][5][6][6]abcor...@mail.cs.dartmouth.edu> wrote:
 A couple more:
 Juan Timoneda, Rosas de romances (1573): Don Luys Milan
 BartolomÃÆ Ã � de Villalba y EstaÃÆ Ã �a, El pelegrino curioso 
...

 (1577):

 Don Luys Milan

 On Sunday, 5 January 2020, 19:24:07 GMT-6, Antonio Corona

 [3][6][7][7]abcor...@mail.cs.dartmouth.edu wrote:
 Dear friends,
 Luis MilÃÆ Ã �n, Libro de motes (1535): Don Luys Milan
 Luis MilÃÆ Ã �n, El Maestro (1535-36): Luys Milan
 Luis MilÃÆ Ã �n, El cortesano (1561): Don Luys Milan
 Juan FernÃÆ Ã �ndez de Heredia, Las obras ... (1562): Don Luys

 Milan

 Gaspar Gil Polo, Diana enamorada (1564): Don Luys Milan
 Best wishes,
 Antonio

 On Sunday, 5 January 2020, 14:26:06 GMT-6, Joachim LÃÆ Ã �dtke

 [4][7][8][8]jo.lued...@t-online.de wrote:
 In El Cortesano it's Don Luys Milan ÃÆÃ � Ã � I am not a home for

 the

 next

 few days, but if anyone has the Facsimile of El Maestro published

 by

 the Sociedad de la Vihuela a few years ago, he or she could look

 into

 the commentary and see if there is any evidence mentioned for MilÃÆ

 Ã �n,

 de 

[LUTE] Re: Portuguese Lute Music anyone?

[Lex van Sante]

Lluis del Milà is the the name in Catalan. In Castiliano the name is Luys (or 
alternatively Luis) Milan.
Cheers!
Lex

Verstuurd vanaf mijn iPhone

> Op 5 jan. 2020 om 14:17 heeft r.turov...@gmail.com het volgende geschreven:
> 
> How come is he also known as Luis de Milan and Lluis del Mila’?
> RT
> 
> 
> http://turovsky.org
> Feci quod potui. Faciant meliora potentes.
> 
>> On Jan 5, 2020, at 4:16 AM, Albert Reyerman  
>> wrote:
>> 
>> Wrong, Tristan.
>> 
>> The only source we have with his name given
>> is EL MAESTRO.
>> Here his name is prited Luys Milan (sic)
>> No apostroph.
>> 
>> Regards
>> Albert
>> 
>> TREE  EDITION
>> Albert Reyerman
>> Finkenberg 89
>> 23558 Luebeck
>> Germany
>> 
>> albertreyer...@kabelmail.de
>> www.tree-edition.com
>> 0451 899 78 48
>> ---
>> Fine Art Paintings
>> Anke Reyerman
>> www.anke-reyerman.de
>> 
 Am 04.01.2020 um 20:02 schrieb Tristan von Neumann:
>>> May I just add something outrageous:
>>> 
>>> 
>>> This guy is literally called "Milán". How sure are we that he's not of
>>> Italian origin?
>>> 
>>> 
 On 04.01.20 19:59, Antonio Corona wrote:
 Dear Ron,
 
 Thank you for your kind words. Again, I think we should be wary of 
 speculations where the known facts points in another direction. While 
 there is indeed a possibility of Italian influence in Milán, especially 
 considering that the viceroy of Valencia was Ferdinand of Aragón, Duke of 
 Calabria, I still believe that putting together Milán and Verdelot is 
 pushing the evidence too far merely on the basis of a vague possibility 
 (which I cannot share -the dates of their publications suggest otherwise); 
 on the other hand, we have no way of knowing how much influence 
 Castiglione's book might have had on Milán: at least there is none to be 
 found in his own Cortesano. In my view all the arguments in favour of an 
 Italian direct musical influence on Milán remain purely speculative.  I 
 cannot give credence to them.
 
 On the other hand, resorting to the contents of Valderrábano and Fuenllana 
 is, again, misleading. Both vihuelists belong to a later phase and school 
 (I call it Castilian as opposed to the earlier Valencian) and should not 
 be used as a basis for comparison. The mere fact that both included a 
 large amount of intabulations as opposed to the contents of El Maestro 
 -where there are none-, not to mention the altogether different style of 
 their fantasias, as well as the fact that both Valderrábano and Fuenllana 
 were professional musicians at the service of nobility, whereas Milán was 
 an amateur (probably a member of the lesser nobility as suggested by the 
 "Don"), their "nationality": Castilian versus Valencian, and even the type 
 of tablature they used should put us on our guard against a direct 
 comparison and therefore considering them on the same category.
 
 I´m afraid that I shall need more solid evidence to convince me that Milan 
 used the music of Verdelot (or any of the other great composers 
 intabulated by later vihuelists) as a model or otherwise for his own 
 music. As it stands now, I must stress it again, such a suggestion is 
 firmly rooted on speculation and nothing more.
 
 Best wishes,
 Antonio
 
 
 
 
 
 
>  On Saturday, 4 January 2020, 09:19:07 GMT-6, Ron Andrico 
>  wrote:
 
 
 
 
 
Thanks, Antonio.  I must say it is heartwarming to know you are such a
   champion for the music of Milan.  I appreciate his role as a pioneer in
   Spanish instrumental music and as an advocate of the viheula and its
   significance in courtly life.  But I don't think it is much of a
   speculation to say that he was influenced by Italian examples,
   including Verdelot's madrigals and Castiglione's much earlier example
   of a guide to courtly custom.  I think if you'll examine the large
   amount of intabulated polyphony found in the books of Fuenllana (1552)
   and Valderrabano (1547), both of which contain several intabulations of
   music by Verdelot, as well as Arcadelt, Compere, Gombert, Josquin,
   Mouton, Sermisy and Willaert, you must admit there is a chance Milan
   had access to examples for his instrumental settings.
 
   RA
 __
 
   From: lute-...@new-old-mail.cs.dartmouth.edu
on behalf of Antonio Corona
   
   Sent: Saturday, January 4, 2020 9:21 AM
   To: lute@cs.dartmouth.edu 
   Subject: [LUTE] Re: Portuguese Lute Music anyone?
 
   Oops ... a mistake.
   In the paragraph wich reads:
   Milán`s El Cortesano is an account of his life at the viceregal court
   of the Duke of Calabria and Germaine de Foix at Valencia: it has little
   in common with Casteglione's work which, 

[LUTE] conserto vago

[Lex van Sante]

Dear collective wisdom,

I am trying to decipher the avvertimenti belonging to the Conserto Vago, Roma 
1645 but my copy found on IMSLP is very hard to read. Does anyone have, or know 
of, a good quality copy or a link I can use? I have investigated the site of 
the biblioteca della musica di Bologna where the original is kept but they do 
not seem to have a copy service available.

Cheers and all the best for 2020!

Lex van Sante






--

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

[LUTE] Re: Wishful thinking on lute temparaments was Re: Lute Temperaments

[Lex van Sante]

The name of the violinist was Petit, who thought that his host (Weiss) had 
spoken against him when he was applying for a job in Dresden.

Cheers,

Lex






> Op 23 jul. 2019, om 17:58 heeft howard posner  het 
> volgende geschreven:
> 
> The biter was a violinist.  The bitee was Weiss.
> 
>> On Jul 23, 2019, at 8:45 AM, theoj89...@new-old-mail.cs.dartmouth.edu wrote:
>> 
>> Didn't a musician (lute player?) try to bite the thumb off another
>>  musician? I can't remember the details-
>>  I bet the disagreement was over tempered tuning.
>>  They didn't have the internet back then.
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Re:

[Lex van Sante]

Anyone can hear that this organ is not in tune.
Whatever the temperament the octaves should be pure.
I agree with Roman that this sounds horrible but this has nothing to do with 
the temperament.

Cheers,

Lex





> Op 21 jul. 2019, om 17:59 heeft r.turov...@gmail.com het volgende geschreven:
> 
>   This is a piece by Tarquinio Merula in MT,
> 
>   Anything but beautiful-
> 
>   [1]https://youtu.be/dyzYjyp8zCw
>   
>   [2]http://turovsky.org
>   Feci quod potui. Faciant meliora potentes.
>   On Jul 21, 2019, at 11:34 AM, David van Ooijen
>   <[3]davidvanooi...@gmail.com> wrote:
> 
> The beauty of MT is that each key has it's own character. I've played
> l'Orfeo 30 times. 30 Times in MT. I've lost count of the times I've
> played Monteverdi's Maria Vespers (over one hundred times, anyway)
>   all
> in MT.
> David
> On Sun, 21 Jul 2019 at 17:21, <[1][4]r.turov...@gmail.com> wrote:
>   So - I took a quick look: l'Orfeo starts in C and goes through a,
>   d,
>   F, g, G, Bb, c and even f.
>   A separate theorbo for each key change, I suppose!))
>   RT
>   
>   [2][5]http://turovsky.org
>   Feci quod potui. Faciant meliora potentes.
> 
> On Jul 21, 2019, at 8:49 AM, [3][6]r.turov...@gmail.com wrote:
> 
> Out of curiosity:
> 
> There should be estimates around of how many keys say a Monteverdi
> 
>   opera goes through.
> 
> I am pretty sure Claudio didn't worry about the fretted guys
> 
>   temperaments, did he?
> 
> unless they had a different axe per movement.
> 
> RT
> 
> 
> 
> [4][7]http://turovsky.org
> 
> Feci quod potui. Faciant meliora potentes.
> 
> On Jul 21, 2019, at 6:16 AM, tribioli
> 
>   <[5][8]tribi...@arcetri.astro.it> wrote:
> 
>  I know only one thing: for me 1/6 comma practically works. No
> 
>   slanted
> 
>  frets nor tastini. I don't bear anymore to play early
> 
>   Renaissance music
> 
>  in equal temperament which on the other hand I use on all the
> 
>   later
> 
>  music as it allows to play in other keys than the "standard"
> 
>  Renaissance keys.
> 
>  I think there were not so many rules in the past. Galilei
> 
>   advocates
> 
>  against tastini, so there were people using them and meantone
> 
>  temperament. How many we don't know. Piccinini advocates
> 
>   playing with
> 
>  nails, others say not. Besard says to stretch the thumb out,
> 
>   some
> 
>  others say to do so if your hand allows it (for instance, I
> 
>   have a
> 
>  short thumb, one falanx shorter than usual). In any case,
> 
>   Besard (if I
> 
>  remember correctly) blames those who play shaking their hand,
> 
>   so there
> 
>  were some musicians that still played thumb under at his time.
> 
>   How many
> 
>  we don't know. Lately, some, many?, people played with the
> 
>   pinky very
> 
>  close or behind the bridge, so they probably had lower string
> 
>   tensions,
> 
>  which is probably good for instruments with many strings, and a
> 
>  completely different sound of what now people think is nice.
> 
>   Even our
> 
>  instruments are biased by our ideal, sweet, sound, which BTW is
> 
>  different from what was considered a good sound thirty years
> 
>   ago, but
> 
>  if one reproduces exactly the thickness and bar dimensions of
> 
>   the
> 
>  surviving boards, the sound that comes out is much brighter.
> 
>   Ok, it
> 
>  depends on the board stiffness too, but that's it.
> 
>  It is a modern, romantic, idea that everything in music must be
> 
>  written, the thecnique must be absolutely that etc. The old
> 
>   masters,
> 
>  simply did what they liked more and worked better for them, of
> 
>   course
> 
>  to the degree the instrument allowed. They wrote their own
> 
>   music or
> 
>  freely adapted what was composed by others, simplifying or
> 
>   adding
> 
>  diminutions as they thought was fit and their thecnique
> 
>   allowed. As in
> 
>  the case of the lute there is no continuity because no one have
> 
>   played
> 
>  it for a couple of centuries, we can only guess and try to stay
> 
>   close
> 
>  to what they "probably" did. If we like to do so, because at
> 
>   the end no
> 
>  one wrote a law so the lutenists have to play only old music!
> 
>   Freedom
> 
>  (in art, at least)!
> 
>  Happy plucking
> 
>   Messaggio originale 
> 
>  Da: Matthew Daillie <[6][9]dail...@club-internet.fr>
> 
>  Data: 21/07/19 11:23 (GMT+01:00)
> 
>  A: "[7][10]lute@cs.dartmouth.edu list"
> <[8][11]lute@cs.dartmouth.edu>
> 
>  Oggetto: [LUTE] Re: Wishful thinking on lute temparaments was
> 
>   Re: Lute
> 
>Temperaments
> 
>  OK, I stand corrected, you know best. Have a nice day.
> 
>  Matthew
> 

[LUTE] Re: decent field recorder for lute

[Lex van Sante]

I get very good results with Olympus LS10, LS-20M (for audio and video) and 
LS-100 recorders.

Cheers!

Lex




> Op 20 mei 2019, om 12:26 heeft Ralf Mattes  het volgende 
> geschreven:
> 
> 
> Am Sonntag, 19. Mai 2019 19:06 CEST, Tristan von Neumann 
>  schrieb: 
> 
>> It seems the Zoom can be powered by USB when recording at the computer?
>> If not, I would tend to buy the Tascam with longer battery life.
> 
> I can't speak about the newer H4 devices, but USB bus power only worked when 
> the device was pluged into
> to computer before switching it on.
> 
> Cheers, RalfD
> 
> 
> 
> 
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: stump?

[Lex van Sante]

Better still, the Bandura old style with a similar curved bridge and all.

Cheers,

Lex




> Op 27 dec. 2018, om 21:35 heeft David Van Edwards  
> het volgende geschreven:
> 
> It's just occurred to me that the arrangement of strings on the Poliphant 
> seems remarkably like that on a torban.
> 
> David
> 
> Dear Ed and Arthur and Rainer,
> 
> Here is a link to a page I've put together showing the Randle Holme 
> description and sketch of the Poliphant. His Academy of Armory is an 
> unbelievably confusing but comprehensive descriptive list of objects from 
> seventeenth century English life. Just above the Poliphant you'll see his 
> sketch of an English theorbo which Davide Rebuffa first pointed me to.
> 
> http://www.vanedwards.co.uk/RandleHolme.htm
> 
> Best wishes,
> 
> David
> 
> 
> 
> At 08:48 -0600 23/12/18, Edward Martin wrote:
>>   There is a short Wikipedia article on Daniel Ferrant, and it states:
>> 
>>   Daniel Farrant (1575ˆ¢1651)^[1][1] was an English composer, viol player
>>   and instrument maker. He invented types of [2]citterns, the
>>   [3]poliphant and the [4]stump, along with the early [5]lyra
>>   viol.^[6][2] He is also credited with the invention of the early
>>   [7]viola d'amore. The particulars of the [8]stump are not known.^[9][3]
>> 
>> References
>> 
>> Ashbee, Andrew. "Farrant, Daniel". [10]Oxford Dictionary of National
>> Biography (online ed.). Oxford University Press.
>> [11]doi:[12]10.1093/ref:odnb/67960. (Subscription or [13]UK public library
>> membership required.)
>> 
>> Gozza, edited by Paolo (2000). Number to Sound the Musical Way to the
>>   Scientific Revolution. Dordrecht: Springer Netherlands. p.  147.
>>   [14]ISBN  [15]9789401595780.
>> 
>> Galpin, Francis (1911). Old English Instruments of Music: Their
>>   History and Character. p.  32.
>> 
>>   Seasons greetings to all.
>> 
>>   ed
>> 
>>   On Sun, Dec 23, 2018 at 7:53 AM Rainer <[16]rads.bera_g...@t-online.de>
>>   wrote:
>> 
>> On 23.12.2018 13:49, Arthur Ness wrote:
>> >  The stump was according to Playford invented by a Daniel
>> Farrant.   It
>> >  was also known as an English theorbo.
>> >  He   is said to have invented the Poliphant, a wire-strung
>> lute-type
>> >  instrument.
>> Excellent - I didn't know that.
>> This appears in Playford's "Musicks Recreation on the Lyra Viol"
>> (London, 1652, 1661, 1669 and 1682 [and other editions?]).
>> However. the stump and the polyphant seem to be mentioned in the
>> 1661 edition only.
>> I can send a (poor) copy from my pdf file based on a microfilm..
>> Rainer
>> PS
>> One of the 1681 copies once belonged to Thomas Oliphant (without
>> "P") who published "improved" versions of several songs by Dowland
>> in 1837.
>> To get on or off this list see list information at
>> [17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>>   --
>> 
>> References
>> 
>>   1. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-1
>>   2. https://en.wikipedia.org/wiki/Cittern
>>   3. https://en.wikipedia.org/wiki/Poliphant
>>   4. 
>> https://en.wikipedia.org/w/index.php?title=Stump_instrument=edit=1
>>   5. https://en.wikipedia.org/wiki/Lyra_viol
>>   6. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-2
>>   7. https://en.wikipedia.org/wiki/Viola_d'amore
>>   8. 
>> https://en.wikipedia.org/w/index.php?title=Stump_instrument=edit=1
>>   9. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-3
>>  10. 
>> https://en.wikipedia.org/wiki/Dictionary_of_National_Biography#Oxford_Dictionary_of_National_Biography
>>  11. https://en.wikipedia.org/wiki/Digital_object_identifier
>>  12. https://doi.org/10.1093/ref:odnb/67960
>>  13. http://www.oxforddnb.com/help/subscribe#public
>>  14. https://en.wikipedia.org/wiki/International_Standard_Book_Number
>>  15. https://en.wikipedia.org/wiki/Special:BookSources/9789401595780
>>  16. mailto:rads.bera_g...@t-online.de
>>  17. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
> --
> The Smokehouse,
> 6 Whitwell Road,
> Norwich,  NR1 4HB England.
> 
> Telephone: + 44 (0)1603 629899
> Website: http://www.vanedwards.co.uk
> -- 
> The Smokehouse,
> 6 Whitwell Road,
> Norwich,  NR1 4HB  England.
> 
> Telephone: + 44 (0)1603 629899
> Website: http://www.vanedwards.co.uk
> 
> 
> 


--

[LUTE] Re: music stands

[Lex van Sante]

Hi Martin, I think the best ones are made by K An alternative is RGB. Both 
are made in Germany or at least made to German standards. They will cost from 
25 to 35 euro depending on where you buy them. 

Verstuurd vanaf mijn iPhone

> Op 17 okt. 2018 om 17:47 heeft Martin Shepherd  het 
> volgende geschreven:
> 
> Can anyone recommend a good traditional metal music stand?  I don't mean the 
> very heavy orchestral stand, just a "normal" fold-out one.  I ask because it 
> seems that they're all made in China and are flimsy and unstable.  I have one 
> (I think it's Stagg) where the top attaches to the rest with just one rivet, 
> so it just wobbles.
> 
> I need the little fold-out arms so I can see three-page pieces, too.
> 
> Thanks for any advice,
> 
> M
> 
> 
> 
> ---
> This email has been checked for viruses by Avast antivirus software.
> https://www.avast.com/antivirus
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Bach for viola and theorbo

[Lex van Sante]

Ma belle si ton âme/ Une jeune fillette/La Monica


Lex van Sante




> Op 8 sep. 2018, om 22:41 heeft G. C.  het volgende 
> geschreven:
> 
>   Who recognizes the theme starting on 36:21   :)))
>   On Sat, Sep 8, 2018 at 1:05 PM G. C. <[1]kalei...@gmail.com> wrote:
> 
>   Also well worth a listen, where the well balanced soundscape actually
>   makes the plucker(s) audible:
>   [2]https://www.bbc.co.uk/radio/play/m7lz
> 
>   --
> 
> References
> 
>   1. mailto:kalei...@gmail.com
>   2. https://www.bbc.co.uk/radio/play/m7lz
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: 17th century Dutch

[Lex van Sante]

Hey Rainer,

Starting from ”Om dan te komen” 

To arrive then at the description of the most important points and marks which 
one out of necessity has to observe, I will introduce the same concise and as 
easy as possible, leaving many things out which are not necessary. Firstly in 
order be able to place every finger in its place one should notice the points 
which have been put on the back of the character, as for example .b means the 
first finger, :c the second, .: the third, .:. the fourth and notice that these 
markings serve for the left hand. Secondly, as concerns the right hand one will 
notice that when below any letter there is a single point as for example ḍ, 
this means that the string has to be pulled with the first finger./ if there 
are two stripes as in (translator does’t know how to produce this sign which 
is a c with two little vertical stripes underneath )which means the second 
finger and if there is none with all(letters) it means the thumb so that you 
notice well and will not falter. and also do not for!
 get that when  you find a poit under a full stop (i.e. a chords) you play the 
same without thumb striking the three fingers inside the hand. Thirdly I warn 
you that when you find curved lines like (see original text which by the way 
shows a straight and a curved line) This means that one must hold the finger 
where the line begins until the letter where she ends.

Cheers!

Lex van Sante




> Op 15 apr. 2018, om 20:43 heeft Rainer <rads.bera_g...@t-online.de> het 
> volgende geschreven:
> 
> 


--

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

[LUTE] Re: 17th century Dutch

[Lex van Sante]

Hey Rainer, being dutch I may be of some help!

Verstuurd vanaf mijn iPhone

> Op 15 apr. 2018 om 17:52 heeft Rainer  het 
> volgende geschreven:
> 
> Dear lute netters,
> 
> can anybody help me with a translation of a few lines in 17th century Dutch?
> 
> I understand that it is quite di8fferent from modern Dutch...
> 
> Rainer
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: CLFBoc, n° 13

[Lex van Sante]

Sorry, forgot to mention: no concordances for nr. 13 for baroque lute.

Lex
> Op 19 mrt. 2018, om 14:48 heeft Lex van Sante <lvansa...@gmail.com> het 
> volgende geschreven:
> 
> Hey Rainer,
> 
> there are 2 numbers 13 
> for renaissance lute:
> Gaillarde from Besard 1603 VI f. 128 Conc. Pra. IV G 18 f. 29’30 
> ”Gaillarde S. N."
> for baroque lute:
> Courante (avec) Double Vm7 6214, f.17’-18'
> 
> If you are greedy I could scan and pm.
> 
> Cheers
> 
> Lex
> 
> 
> 
> 
>> Op 19 mrt. 2018, om 14:32 heeft Rainer <rads.bera_g...@t-online.de 
>> <mailto:rads.bera_g...@t-online.de>> het volgende geschreven:
>> 
>> Dear lute netters,
>> 
>> can anybody (an owner of the cnrs edition of Bocquet) tell me what
>> 
>>  CLFBoc, n° 13
>> 
>> is? With concordances if possible...
>> 
>> 
>> Best wishes,
>> 
>> Rainer
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 
>> <http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html>
> 


--

[LUTE] Re: CLFBoc, n° 13

[Lex van Sante]

Hey Rainer,

there are 2 numbers 13 
for renaissance lute:
Gaillarde from Besard 1603 VI f. 128 Conc. Pra. IV G 18 f. 29’30 ”Gaillarde 
S. N."
for baroque lute:
Courante (avec) Double Vm7 6214, f.17’-18'

If you are greedy I could scan and pm.

Cheers

Lex




> Op 19 mrt. 2018, om 14:32 heeft Rainer  het 
> volgende geschreven:
> 
> Dear lute netters,
> 
> can anybody (an owner of the cnrs edition of Bocquet) tell me what
> 
>   CLFBoc, n° 13
> 
> is? With concordances if possible...
> 
> 
> Best wishes,
> 
> Rainer
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Goffriller

[Lex van Sante]

Nico for sure! Anyway it says so on the cover of the LP I’m holding.
Cheers!
Lex





> Op 18 mrt. 2018, om 09:36 heeft Jean-Marie Poirier  
> het volgende geschreven:
> 
> Hi all,
> Wasn’t this Goffriller copy made by Jacob Van de Geest rather than Nico Van 
> der Waals...?
> Best,
> Jean-Marie 
> 
>> Le 15 mars 2018 à 20:29, Edward Martin  a écrit :
>> 
>> Dear ones, 
>> 
>> I reside in Northern Minnesota, and in a few days we will have a cello 
>> concert performed by Amit Peled, and he is performing on Pablo Casals’ old 
>> cello by Matteo Goffriller made in 1733.  I looked up some information on 
>> that builder, and he founded the Venice school of violin making and he is 
>> known mostly for his cellos.  Most or all of his surviving instruments are 
>> accounted for, but all lists contained only violins, violas, cellos, basses. 
>> No lutes listed. 
>> 
>> I seem to recall years ago that Paul O’Dette used to play an alto lute 
>> built by Nico van der waals, modeled after a lute by Goffriller. I am having 
>> a difficult time finding anything about extant Goffriller lutes. Does anyone 
>> know anything about the provenance of an old Goffriller lute?  I would like 
>> to know, as I will be meeting with Amit Pelad, who has Pablo Casals’ 
>> Goffriller cello. 
>> 
>> Thanks in advance. 
>> 
>> 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: Goffriller

[Lex van Sante]

Of course I mean Venice instead of Vienna!

Verstuurd vanaf mijn iPhone

> Op 15 mrt. 2018 om 21:48 heeft Lex van Sante <lvansa...@gmail.com> het 
> volgende geschreven:
> 
> I seem to recall from an interview with Nico van der Waals that I read 
> decades ago that Nico  restored an original lute  of Gofriller from Vienna 
> for Nicolaus Harnoncourt in the late seventies.
> He has made at least one copy of it which can be heard on a record by Paul 
> O’Dette with music by Leroy and Paladino. Morlaye and de Rippe are played on 
> another van der Waals lute.
> Cheers, Lex
> 
> Verstuurd vanaf mijn iPhone
> 
>> Op 15 mrt. 2018 om 20:29 heeft Edward Martin <edvihuel...@gmail.com> het 
>> volgende geschreven:
>> 
>> Dear ones, 
>> 
>> I reside in Northern Minnesota, and in a few days we will have a cello 
>> concert performed by Amit Peled, and he is performing on Pablo Casals’ old 
>> cello by Matteo Goffriller made in 1733.  I looked up some information on 
>> that builder, and he founded the Venice school of violin making and he is 
>> known mostly for his cellos.  Most or all of his surviving instruments are 
>> accounted for, but all lists contained only violins, violas, cellos, basses. 
>> No lutes listed. 
>> 
>> I seem to recall years ago that Paul O’Dette used to play an alto lute built 
>> by Nico van der waals, modeled after a lute by Goffriller. I am having a 
>> difficult time finding anything about extant Goffriller lutes. Does anyone 
>> know anything about the provenance of an old Goffriller lute?  I would like 
>> to know, as I will be meeting with Amit Pelad, who has Pablo Casals’ 
>> Goffriller cello. 
>> 
>> Thanks in advance. 
>> 
>> 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: Goffriller

[Lex van Sante]

I seem to recall from an interview with Nico van der Waals that I read decades 
ago that Nico  restored an original lute  of Gofriller from Vienna for Nicolaus 
Harnoncourt in the late seventies.
He has made at least one copy of it which can be heard on a record by Paul 
O’Dette with music by Leroy and Paladino. Morlaye and de Rippe are played on 
another van der Waals lute.
Cheers, Lex

Verstuurd vanaf mijn iPhone

> Op 15 mrt. 2018 om 20:29 heeft Edward Martin  het 
> volgende geschreven:
> 
> Dear ones, 
> 
> I reside in Northern Minnesota, and in a few days we will have a cello 
> concert performed by Amit Peled, and he is performing on Pablo Casals’ old 
> cello by Matteo Goffriller made in 1733.  I looked up some information on 
> that builder, and he founded the Venice school of violin making and he is 
> known mostly for his cellos.  Most or all of his surviving instruments are 
> accounted for, but all lists contained only violins, violas, cellos, basses. 
> No lutes listed. 
> 
> I seem to recall years ago that Paul O’Dette used to play an alto lute built 
> by Nico van der waals, modeled after a lute by Goffriller. I am having a 
> difficult time finding anything about extant Goffriller lutes. Does anyone 
> know anything about the provenance of an old Goffriller lute?  I would like 
> to know, as I will be meeting with Amit Pelad, who has Pablo Casals’ 
> Goffriller cello. 
> 
> Thanks in advance. 
> 
> 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: Dowland Farewell

[Lex van Sante]

Hi Katalin,

About which Farewell are you going to write? There are two fancy’s with this 
title by Dowland.
There is one based on a achromatic fourth ascending (Poulton no. 3) and another 
In Nomine (Poulton no. 4).

Best regards,

Lex



> Op 17 jan. 2018, om 19:41 heeft Nancy Carlin 
>  het volgende geschreven:
> 
> We are always happy to consider articles like this for the LSA Quarterly, 
> especially since in our recent survey people were requesting more articles on 
> renaissance music. Our requirements are that articles not be already readily 
> accessible on some website and we only rarely publish something that has 
> appeared , or will appear in another lute society's publication. If you would 
> like the article to be considered please email it to
> 
> Nancy Carlin - General Editor lsaq.edi...@gmail.com 
> 
> Sean Smith - Associate Editor lutesm...@gmail.com 
> 
> Also the editor of the LSA Journal will be moving on to other projects and we 
> need to find a new editor. If you are interested in being considered for this 
> job please email me (Nancy) and
> 
> Doug Smith renl...@yahoo.com 
> 
> Nancy
> 
> 
>>Thank you Jean-Marie! I will check that!
>>Any other suggestions on a lute or at least music associated site?
>>Thank you!!
>> 
>>Jean-Marie Poirier <[1]jmpoiri...@wanadoo.fr 
>> > (idÃ…pont: 2018. jan. 17.,
>>Sze, 11:34) ezt Ãrta:
>> 
>>  [2]https://www.academia.edu/  seems a good 
>> choice.
>>  I look forward to reading your essay !
>>  Best,
>>  Jean-Marie Poirier
>>  --
>>  >Dear Collected Wisdom,
>>  >I am about to finish writing an essay on John Dowland's
>>  Farewell.
>>  >My writing is about the formal analysis on motivic development
>>  and
>>  >origins of the themes.
>>  >I would be happy to publish it on any online surface of
>>  scholarly/music
>>  >articles.
>>  >Do you have any suggestions, where to send it?
>>  >Thank you!
>>  >Best regards,
>>  >Katalin
>>  >[1][3]www.katalinkoltai.com
>>  >
>>  >--
>>  >
>>  >References
>>  >
>>  >1. [4]http://www.katalinkoltai.com/
>>  >
>>  >
>>  >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:jmpoiri...@wanadoo.fr
>>2. https://www.academia.edu/
>>3. http://www.katalinkoltai.com/
>>4. http://www.katalinkoltai.com/
>>5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>> 
> 
> 
> -- 
> Nancy Carlin
> Administrator THE LUTE SOCIETY OF AMERICA
> http://LuteSocietyofAmerica.org 
> 
> PO Box 6499
> Concord, CA 94524
> USA
> 925 / 686-5800
> 
> www.groundsanddivisions.info 
> www.nancycarlinassociates.com 

--

[LUTE] Re: Bad lute music

[Lex van Sante]

Oops! I didn’t read all previous posts. My bad!
> Op 12 nov. 2017, om 15:56 heeft Lex van Sante <lvansa...@gmail.com> het 
> volgende geschreven:
> 
> Thomas Mace was deaf in his later years. He pressed his front teeth against 
> the edge of the soundboard and thus was able to hear what he was playing. He 
> describes this in his Musicks’ Monument in 1676.
>> Op 12 nov. 2017, om 15:33 heeft G. C. <kalei...@gmail.com> het volgende 
>> geschreven:
>> 
>>  Very interesting discourse about Beethoven's deafness, several more
>>  available (in german) on YT. Thanks for the link Markus. Although it
>>  doesn't specify the nature of the hearing aid connected to the piano
>>  which was used, I assume that all hasn't yet been said in this matter.
>>  G.
>> 
>>  On Sun, Nov 12, 2017 at 2:14 PM, Markus Lutz <[1]mar...@gmlutz.de>
>>  wrote:
>> 
>>  I'm not sure that this is a myth.
>>  There is a youtube video in German by the medical society of Mainz
>>  about Beethoven's deafness and his relation to Johann Nepomuk Mälzel
>>  (the inventor of the metronome).
>>  Beethoven used his ear trumpets and Mälzel also constructed a
>>  mechanism that was set on the piano and transported the sound directly
>>  to the ear (around 46m).
>>  [2]https://www.youtube.com/watch?v=V9Lj8Qy2Ilk=2965s
>>  Best regards
>>  Markus
>>  Am 11.11.2017 um 23:31 schrieb G. C.:
>> 
>>A myth then apparently. Interesting though, that:
>>The "phenomenon" of bone conduction is generally credited as
>>being
>>discovered in the 1500s (though some say it can be traced back
>>to
>>around 2AD). A physician, mathematician, philosopher and
>>all-around
>>brilliant fella' by the name of Girolamo Cardano noticed that it
>>was
>>possible to hear through a rod or spear when placed between the
>>teeth.
>>He detailed his findings in his controversial publication De
>>Subtilitate, but the information hadn't really been applied to
>>anything, let alone to help the deaf or hearing-impaired, until
>>later.
>>G.
>>On Sat, Nov 11, 2017 at 7:44 PM, John Mardinly
>><[1][3]john.mardi...@asu.edu> wrote:
>>Beethoven's deafness was caused by "inner ear" problems,
>>sometimes
>>called labyrinthitis, a form of nerve deafness, not mechanical
>>problems, such as damage to the eardrum or the small bones of
>>the inner
>>ear. As such, it is unlikely that the bone conduction would have
>>been
>>any use to him.
>>A. John Mardinly, Ph.D., P.E.
>>--
>>References
>>1. mailto:[4]john.mardi...@asu.edu
>>To get on or off this list see list information at
>>[5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>>  --
>>  Markus Lutz
>>  SchulstraÃe 11
>>  88422 Bad Buchau
>>  Tel   0 75 82 / 92 62 89
>>  Fax   0 75 82 / 92 62 90
>>  Mail [6]mar...@gmlutz.de
>> 
>>  --
>> 
>> References
>> 
>>  1. mailto:mar...@gmlutz.de
>>  2. https://www.youtube.com/watch?v=V9Lj8Qy2Ilk=2965s
>>  3. mailto:john.mardi...@asu.edu
>>  4. mailto:john.mardi...@asu.edu
>>  5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>  6. mailto:mar...@gmlutz.de
>> 
> 
> 
> 

[LUTE] Re: Bad lute music

[Lex van Sante]

Thomas Mace was deaf in his later years. He pressed his front teeth against the 
edge of the soundboard and thus was able to hear what he was playing. He 
describes this in his Musicks’ Monument in 1676.
> Op 12 nov. 2017, om 15:33 heeft G. C.  het volgende 
> geschreven:
> 
>   Very interesting discourse about Beethoven's deafness, several more
>   available (in german) on YT. Thanks for the link Markus. Although it
>   doesn't specify the nature of the hearing aid connected to the piano
>   which was used, I assume that all hasn't yet been said in this matter.
>   G.
> 
>   On Sun, Nov 12, 2017 at 2:14 PM, Markus Lutz <[1]mar...@gmlutz.de>
>   wrote:
> 
>   I'm not sure that this is a myth.
>   There is a youtube video in German by the medical society of Mainz
>   about Beethoven's deafness and his relation to Johann Nepomuk Mälzel
>   (the inventor of the metronome).
>   Beethoven used his ear trumpets and Mälzel also constructed a
>   mechanism that was set on the piano and transported the sound directly
>   to the ear (around 46m).
>   [2]https://www.youtube.com/watch?v=V9Lj8Qy2Ilk=2965s
>   Best regards
>   Markus
>   Am 11.11.2017 um 23:31 schrieb G. C.:
> 
> A myth then apparently. Interesting though, that:
> The "phenomenon" of bone conduction is generally credited as
> being
> discovered in the 1500s (though some say it can be traced back
> to
> around 2AD). A physician, mathematician, philosopher and
> all-around
> brilliant fella' by the name of Girolamo Cardano noticed that it
> was
> possible to hear through a rod or spear when placed between the
> teeth.
> He detailed his findings in his controversial publication De
> Subtilitate, but the information hadn't really been applied to
> anything, let alone to help the deaf or hearing-impaired, until
> later.
> G.
> On Sat, Nov 11, 2017 at 7:44 PM, John Mardinly
> <[1][3]john.mardi...@asu.edu> wrote:
> Beethoven's deafness was caused by "inner ear" problems,
> sometimes
> called labyrinthitis, a form of nerve deafness, not mechanical
> problems, such as damage to the eardrum or the small bones of
> the inner
> ear. As such, it is unlikely that the bone conduction would have
> been
> any use to him.
> A. John Mardinly, Ph.D., P.E.
> --
> References
> 1. mailto:[4]john.mardi...@asu.edu
> To get on or off this list see list information at
> [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
>   --
>   Markus Lutz
>   SchulstraÃe 11
>   88422 Bad Buchau
>   Tel   0 75 82 / 92 62 89
>   Fax   0 75 82 / 92 62 90
>   Mail [6]mar...@gmlutz.de
> 
>   --
> 
> References
> 
>   1. mailto:mar...@gmlutz.de
>   2. https://www.youtube.com/watch?v=V9Lj8Qy2Ilk=2965s
>   3. mailto:john.mardi...@asu.edu
>   4. mailto:john.mardi...@asu.edu
>   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   6. mailto:mar...@gmlutz.de
> 

[LUTE] Re: Replete for 3 lutes

[Lex van Sante]

Hi again,

The original piece is to be found at IMSLP under Parsons, Robert

This is all the info I could find.

Cheers

Lex van Sante





> Op 4 sep. 2017, om 01:40 heeft Alain Veylit <al...@musickshandmade.com> het 
> volgende geschreven:
> 
> There is a "Replete for 3 lutes" in the Brogyntyn lute book - It seems to be 
> a sort of canon, but I don't understand how it works... The Brogyntyn only 
> shows one part, so are the other parts found somewhere else or is the one 
> part enough?
> 
> There is a recording of it by James Tyler et aliem on YouTube: 
> https://www.youtube.com/watch?v=-4X-j9M4dx8
> 
> The Replete is on p18-19 of the book -- Available in digital format: see 
> https://www.llgc.org.uk/en/discover/digital-gallery/manuscripts/early-modern-period/brogyntyn-lute-book/
> 
> Ideas, anyone?
> 
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Replete for 3 lutes

[Lex van Sante]

Hi Alain,

The title of the original piece is “a song called trumpets” composed by 
Robert Parsons.


Lex van Sante





> Op 4 sep. 2017, om 01:40 heeft Alain Veylit <al...@musickshandmade.com> het 
> volgende geschreven:
> 
> There is a "Replete for 3 lutes" in the Brogyntyn lute book - It seems to be 
> a sort of canon, but I don't understand how it works... The Brogyntyn only 
> shows one part, so are the other parts found somewhere else or is the one 
> part enough?
> 
> There is a recording of it by James Tyler et aliem on YouTube: 
> https://www.youtube.com/watch?v=-4X-j9M4dx8
> 
> The Replete is on p18-19 of the book -- Available in digital format: see 
> https://www.llgc.org.uk/en/discover/digital-gallery/manuscripts/early-modern-period/brogyntyn-lute-book/
> 
> Ideas, anyone?
> 
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Replete for 3 lutes

[Lex van Sante]

Hi Alain,

It is an in tabulation of a six part piece. The four lower parts are 
intabulated in the Brogyntyn lute book. The remaining two parts are trebles 
which are tossing musical ideas between them. Much like lute duets of the time 
like Drewries accords. If you are interested, I could PM you a copy of my 
arrangements which I did some 20 years ago.

Happy luting!

Lex van Sante





> Op 4 sep. 2017, om 01:40 heeft Alain Veylit <al...@musickshandmade.com> het 
> volgende geschreven:
> 
> There is a "Replete for 3 lutes" in the Brogyntyn lute book - It seems to be 
> a sort of canon, but I don't understand how it works... The Brogyntyn only 
> shows one part, so are the other parts found somewhere else or is the one 
> part enough?
> 
> There is a recording of it by James Tyler et aliem on YouTube: 
> https://www.youtube.com/watch?v=-4X-j9M4dx8
> 
> The Replete is on p18-19 of the book -- Available in digital format: see 
> https://www.llgc.org.uk/en/discover/digital-gallery/manuscripts/early-modern-period/brogyntyn-lute-book/
> 
> Ideas, anyone?
> 
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Guedron air

[Lex van Sante]

Hi Henner and Christopher,

Christopher is quite right, as I experienced when later I followed the link I 
mistakingly provided. :-(

Happy luting!

Lex van Sante





> Op 28 aug. 2017, om 22:00 heeft Christopher Stetson 
> <christophertstet...@gmail.com> het volgende geschreven:
> 
>   PS, the phrase "original multi-voice originals" originated with the
>   Department of Redundancy Department.
> 
>   On Mon, Aug 28, 2017 at 3:59 PM, Christopher Stetson
>   <[1]christophertstet...@gmail.com> wrote:
> 
>   Beware!   The imslp entries noted above (no doubt quite innocently by
>   Lex) are of an early 20th century reworking of Guedron's song.   The
>   music is completely new, only the words are shared.   I found this out
>   when a singer brought it to me.   I don't know if this song, or other
>   airs de cour, actually had original multi-voice originals, but this is
>   not that for "Aux delices...".
> 
>   On Mon, Aug 28, 2017 at 2:15 PM, Lex van Sante <[2]lvansa...@gmail.com>
>   wrote:
> 
> Hi Henner,
>     [3]imslp.org/wiki/Aux_plaisirs%2C_aux_délices_(Guédron%2C_Pierre)
> Enjoy!
> Lex van Sante
> 
>> Op 28 aug. 2017, om 19:34 heeft Dr. Henner Kahlert
>   <[4]henner.kahl...@t-online.de> het volgende geschreven:
>> 
>>   Dear all,
>> 
>>   I am searching for all the five voices of the wonderful air de
>   cour
>> 
>>   "Aux plaisirs, aux delices bergères" by Pierre Guédron,   which
>   was also
>>   published in a version for voice and lute/tabulature
>> 
>>   The French national library (BnF) shows only the fifth voice
>>   (cinqième):
>> 
>>   [1][5]http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
>> 
>>   Does anyone know how to find the other voices, in the original
>   print of
>>   1618 or in a modern edition?
>> 
>>   Henner
>> --
>> Dr. Henner Kahlert
>> In der Tasch 2a
>> 76227 Karlsruhe (Durlach)
>> Tel. 0049-(0)721-403353
>> 
>>   --
>> 
>> References
>> 
>>   1. [6]http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
>> 
>> 
>> 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:christophertstet...@gmail.com
>   2. mailto:lvansa...@gmail.com
>   3. http://imslp.org/wiki/Aux_plaisirs,_aux_délices_(Guédron,_Pierre)
>   4. mailto:henner.kahl...@t-online.de
>   5. http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
>   6. http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
>   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 


--

[LUTE] Re: Guedron air

[Lex van Sante]

Hi Henner,

imslp.org/wiki/Aux_plaisirs%2C_aux_délices_(Guédron%2C_Pierre)

Enjoy!

Lex van Sante





> Op 28 aug. 2017, om 19:34 heeft Dr. Henner Kahlert 
> <henner.kahl...@t-online.de> het volgende geschreven:
> 
>   Dear all,
> 
>   I am searching for all the five voices of the wonderful air de cour
> 
>   "Aux plaisirs, aux delices bergères" by Pierre Guédron,  which was also
>   published in a version for voice and lute/tabulature
> 
>   The French national library (BnF) shows only the fifth voice
>   (cinqième):
> 
>   [1]http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
> 
>   Does anyone know how to find the other voices, in the original print of
>   1618 or in a modern edition?
> 
>   Henner
> --
> Dr. Henner Kahlert
> In der Tasch 2a
> 76227 Karlsruhe (Durlach)
> Tel. 0049-(0)721-403353
> 
>   --
> 
> References
> 
>   1. http://gallica.bnf.fr/ark:/12148/bpt6k4500117m/f1.image
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: lute and flute ideas

[Lex van Sante]

Hi Gary, 
London pro musica had arrangements of Bassano and Dalla Casa with tab for the 
lute (LPM REP3 and REP 5).
Dunno if still available. 
Ortiz Tratada de glosas is another candidate: modern edition (Bärenreiter 
BVK1954). 
Also the lute ayre repertoire can be very rewarding, especially if the soloist 
could improvise some ornaments.

Happy luting.

Lex van Sante





> Op 28 aug. 2017, om 15:56 heeft Gary Boye <boy...@appstate.edu> het volgende 
> geschreven:
> 
>   Collective Wisdom of Performing Lutenists:
>   I have someone who plays flute interested in doing some duets . . . She
>   has a Renaissance flute and I have a 6c in A and an 8c in G.
>   I would appreciate any thoughts on appropriate repertoire--I'm assuming
>   she would play either vocal lines or melodies for non-specific
>   instruments. She is a professional--but on the modern flute; a bit new
>   to early music. What really works?
>   Thank you in advance; I know this is the quickest way to get an answer
>   to a question like this!
>   Gary
>   --
>   Dr. Gary R. Boye
>   Erneston Music Library
>   Appalachian State University
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Stockholm, Musikmuseet, 63/64/7:2

[Lex van Sante]

As far as I can see the article deals with Joachim van de Hove’s Florida, 
Utrecht 1601 and Pi`eces de Luth by Monsr. Mouton.( presently in the Claudius 
Samling in Kopenhagen, Denmark)

Happy luting!

Lex

> Op 12 mrt. 2017, om 13:37 heeft Max Langer  het 
> volgende geschreven:
> 
> Only deals with Charles Mouton as far as I can see. I can attempt a
> translation if there is interest.
> 
> Cheers,
> Max
> 
> Max Langer, PhD
> 
> 20 rue Diderot
> 38000 Grenoble
> France
> +33 631 94 21 92
> 
> 
> On 11 March 2017 at 19:44, Rainer  wrote:
>> Dear lute netters,
>> 
>> Does anybody know anything about this manuscript?
>> 
>> I only know of
>> 
>> Lindgren, A. Dans och lutspel i fordna dagar, in Svensk
>> Musiktidning, 24/1890 p. 147ff.
>> 
>> 
>> Which is 115 years old and written in Swedish :(
>> 
>> Rainer
>> 
>> PS
>> 
>> Perhaps somebody from Sweden can tell me if it says anything about the
>> Vallet pieces in the manuscript.
>> 
>> See
>> http://carkiv.musikverk.se/www/epublikationer/Svensk_Musiktidning_1890_no_19.pdf
>> 
>> pdf search doesn't find Vallert, though.
>> 
>> 
>> Note it's 19 not 24 as in Kenneth Sparr's article
>> http://www.tabulatura.com/FRELUTE.htm
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 

[LUTE] Re: Now it is getting weird

[Lex van Sante]

Hi Rainer,
I think there is a fourth possibility.
It is the B on the third course which is meant to be held for the remainder of 
the measure.
Happy luting!
Lex
> Op 12 mrt. 2017, om 11:10 heeft Rainer  het 
> volgende geschreven:
> 
> In the first prelude of the first book of Le Secret des Muses there is a very 
> strange hold line in bar 15
> 
> For those who do not have a digital facsimile, have a look at the links at
> 
> http://www.cs.dartmouth.edu/~lsa/links/Digital-Facsimiles.html
> 
> The line starts at a non-existing bass note.
> 
> What does/could this mean?
> 
> 1) It could mean that the G on course 6 of the first chord should sound 
> throughout the whole measure.
> 
> 2) The G on the 4th course in of the first chord should sound throughout the 
> whole measure.
> 
> 3) there is a note (an e on the 6th course?) missing in the 7th "chord".
> 
> 
> Option 1) makes no sense, but sometimes (very few cases) there are lines in 
> Vallet starting at an un-stopped string.
> 
> Option 2) makes musical sense. The engraver had a blackout :)
> 
> Option 3 is the best explanation for the otherwise meaningless line, but 
> adding a note here can hardly be justified.
> 
> Best wishes,
> 
> Rainer
> 
> PS
> 
> I noticed that volume I was engraved by at least two different persons.
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: basses in octaves

[Lex van Sante]

The major third is a dissonance in equal temperament because it is way too big.
Even the perfect major third was considered to be an imperfect consonance in 
the dark ages.

Lex
> Op 1 mrt. 2017, om 09:03 heeft Matthew Daillie  het 
> volgende geschreven:
> 
> Could you explain what you mean Ron, I don't understand this at all. Why do 
> you say the interval of a third is a dissonant interval?
> Best
> Matthew
>> On Mar 1, 2017, at 5:13, Ron Andrico  wrote:
>> 
>> 3) It's not the g string on guitar that is the cause of the tuning
>>  problem, stiff though it may be for nylon players.  The culprit is the
>>  b string, which is tuned at the interval of a third from the g string,
>>  which is a dissonant interval.
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: My Lady Careys Dompe

[Lex van Sante]

@ G.C.
I have tried to find it in Marsh a long time ago but to no avail. 
On which page can I find it?
Lex
> Op 22 feb. 2017, om 12:08 heeft Ron Andrico  het 
> volgende geschreven:
> 
>   Sterling:
> 
>   The piece is available in tablature from the Lute Society in a
>   tablature supplement circa 2000.  Contact Chris Goodwin, since I
>   believe he made the arrangement.
> 
>   RA
> __
> 
>   From: lute-...@cs.dartmouth.edu  on behalf
>   of sterling price 
>   Sent: Wednesday, February 22, 2017 4:05 AM
>   To: Lute List
>   Subject: [LUTE] My Lady Careys Dompe
> 
>   Hi all--
>  I am looking for My Lady Careys Dompe as played by Paul O'Dette on
>   the
>  Royal Lewters cd. Gathering from the liner notes I think it is
>   Paul's
>  arrangement of the harpsichord version. Any ideas?
>  Thanks--
>  Sterling
>  --
>   To get on or off this list see list information at
>   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   [2]Frequently Asked Technical Questions about the lute mail list
>   www.cs.dartmouth.edu
>   Frequently Asked Technical Questions about the lute mail list. getting
>   on and off the list; How do I get on the lute mail list? How do I get
>   off the lute mail list?
> 
>   --
> 
> References
> 
>   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 

[LUTE] Re: Pachenbel suite for theorbo

[Lex van Sante]

I've not been able to find this recording. Neither the one by Müller-Dombois.
However I found one by Walter Gerwig. By the way the name of the composer is 
Pachelbel.
Happy luting
Lex
Op 25 feb 2016, om 15:17 heeft Edward Martin het volgende geschreven:

>   Anthony Bailes also recorded this suite.
> 
>   On Thu, Feb 25, 2016 at 3:01 AM, Peter Steur <[1]p.st...@inrim.it>
>   wrote:
> 
>   --Boundary-00=_XEI34BGBH2K712S0
>   Content-Type: Text/Plain;
> charset="iso-8859-1"
>   Content-Transfer-Encoding: quoted-printable
>   BTW the first recording that I'm aware of is by Eugen Dombois, on vinyl
>   ...
>   Peter
>   ---Messaggio originale---
>   Da: Wayne
>   Data: 23/02/2016 18:32:08
>   A: [2]lute@cs.dartmouth.edu
>   Oggetto: [LUTE] Re: Pachenbel suite for theorbo
>   Peter Steur contributed them, and as Arto says, for baroque lute.
> Wayne
>   To get on or off this list see list information at
>   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   --Boundary-00=_XEI34BGBH2K712S0
>   Content-Type: Text/HTML;
> charset="iso-8859-1"
>   Content-Transfer-Encoding: quoted-printable
>   
>   
>   
>   v\:* {
>   BEHAVIOR: url (#default#vml)
>   }
>   
>   
>   
>  bgColor=#ff>
>  border=0>
>   
>   
>   
>   
>   
>   BTWthe first recording that I'm aware of is by Eugen
>   Dombois, on vinyl ...
>   
>   Peter
>   
>   
>   
>  dir=ltr>---Messaggio originale---
>   
>   
>   Da:href="mailto:[4]wst...@cs.dartmouth.edu;>Wayne
>   Data: 23/02/2016
>   18:32:08
>   A:href="mailto:[5]lute@cs.dartmouth.edu;>[6]lute@cs.dartmouth.edu   V>
>   Oggetto: [LUTE] Re:
>   Pachenbel suite for theorbo
>   
>   Peter Steur contributed them, and as Arto says, for baroque
>   lute.
>   
>   Wayne
>   
>   
>   
>   
>   To get on or off this list see list information at
>  href="[7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html;>[8]htt
>   p://www.cs.dartmouth.edu/~wbc/lute-admin/index.html> 
>   
>   
>   
>   
>   
>   
>  align=center>   id=IncrediStamp>
>   
>  cellPadding=0 width=580 align=center border=0>
>   
>   
>   
>  border=0>
>   
>   
>  align=right>   href="[9]http://www.incredimail.com/?id=621161did=10501ppd=28
>   61,201207171420,16,1,1953940358219890687rui=156356875app_test
>   _id=0sd=20160225">   style="BORDER-TOP: medium none; BORDER-RIGHT: medium none;
>   BORDER-BOTTOM: medium none; BORDER-LEFT: medium none" border=0
>   src="cid:0CFBD4C8-A4E0-4E1C-A8ED-7808F63DBD78">
>   
>   
>   
>  width=500 border=0 valign="middle"
>   href="[10]http://www.incredimail.com?id=621161did=10501ppd=28
>   61,201207171420,16,1,1953940358219890687">
>   
>   
>  title="Animazioni GRATIS per la tua e-mail" style="TEXT-DECORATION:
>   none"
>   href="[11]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">Animazioni GRATIS per
>   la tua e-mail 
>   
>   
>   
>   
>  bgColor=#e2fbb2 height=1>
>  height=1 colSpan=3>   href="[12]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  bgColor=#e2fbb2 height=1>
>   
>  bgColor=#91a184 height=1>
>  height=1 colSpan=3>   href="[13]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  bgColor=#bcd5a7 height=1>
>   
>  bgColor=#91a184 height=32>   href="[14]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  bgColor=#e2fbb2 height=32 border="0">   href="[15]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  id=link title="Animazioni GRATIS per la tua e-mail"
>   style="TEXT-DECORATION: none; HEIGHT: 32px"
>   href="[16]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225" border="0">Fai clic qui! 
>  bgColor=#e2fbb2 height=32>   href="[17]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  bgColor=#bcd5a7 height=32>   href="[18]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>   
>  bgColor=#91a184 height=1>
>  height=1 colSpan=3>   href="[19]http://www.incredimail.com/?id=621161did=10501ppd=2
>   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
>   t_id=0sd=20160225">
>  bgColor=#bcd5a7 height=1>
>   
>  bgColor=#e2fbb2 height=1>
>  height=1 colSpan=3>   href="[20]http://www.incredimail.com/?id=621161did=10501ppd=2
>   

[LUTE] Re: Quick and temporary fix

[Lex van Sante]

Of course you shouldn't use the octave of the seventh. It could probably only 
be tuned to G3.
An alternative is to tune it to G3 and play it like a theorbo with the top 
string down an octave.

Op 24 dec 2015, om 12:43 heeft Omer Katzir het volgende geschreven:

>   ok...after trying several different strings, taken from the 7 course
>   and fret gut, I came to the conclusion that there's something wrong
>   with the lute today. For some reason it refuses to reach G4 without
>   snapping the strings.
> 
>   On Thu, Dec 24, 2015 at 11:29 AM, Omer Katzir <[1]kome...@gmail.com>
>   wrote:
> 
>  "Take the octave string from 7, or go to your local fishing
> gear
>store
>   and buy a spool of nylon/carbon/anything with more or les the
>correct
>   diameter."
>The 7 octave wont reach G4, tried that. And there are no fishing
> stores
>here, so that's also not an option. The string I have
>On Thu, Dec 24, 2015 at 11:12 AM, Edward Chrysogonus Yong
><[1][2]edward.y...@gmail.com> wrote:
>  12 gauge fluorocarbon fishing line is 0.33 mm and works ok for
> a top
>  string - it's an ok top A4 on my 54.5mm Renaissance guitar at
> 440, a
>  bit tight but will probably be usable as a G4 on a Renaissance
> lute.
>  
>  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.
>> On 24 Dec 2015, at 5:06 PM, David van Ooijen
><[2][3]davidvanooi...@gmail.com> wrote:
>> 
>>Take the octave string from 7, or go to your local fishing
> gear
>store
>>and buy a spool of nylon/carbon/anything with more or les
> the
>correct
>>diameter.
>> 
>>***
>>David van Ooijen
>>[1][3][4]davidvanooi...@gmail.com
>>[2][4][5]www.davidvanooijen.nl
>>***
>>On 24 December 2015 at 09:49, Omer Katzir
><[3][5][6]kome...@gmail.com> wrote:
>> 
>> my G string snapped today, the only string I got left
> to
>replace
>>  it
>> will never reach G4. I have a recital next week and I
> need a
>>  quick fix
>> until the new strings arrive.
>> anyone got any tips?
>> it's a 10 course lute, C2, D2, D#/E2, F2, G2, C3, F3,
> A3, D4,
>G4
>> --
>> Omer Katzir
>> The Silent Troubadour
>> [1][4][6][7]http://omerkatzir.com
>> --
>>  References
>> 1. [5][7][8]http://omerkatzir.com/
>>  To get on or off this list see list information at
>> 
> [6][8][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>>--
>> 
>> References
>> 
>>1. mailto:[9][10]davidvanooi...@gmail.com
>>2. [10][11]http://www.davidvanooijen.nl/
>>3. mailto:[11][12]kome...@gmail.com
>>4. [12][13]http://omerkatzir.com/
>>5. [13][14]http://omerkatzir.com/
>>6.
> [14][15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>--
>Omer Katzir
>The Silent Troubadour
>[15][16]http://omerkatzir.com
>--
> References
>1. mailto:[17]edward.y...@gmail.com
>2. mailto:[18]davidvanooi...@gmail.com
>3. mailto:[19]davidvanooi...@gmail.com
>4. [20]http://www.davidvanooijen.nl/
>5. mailto:[21]kome...@gmail.com
>6. [22]http://omerkatzir.com/
>7. [23]http://omerkatzir.com/
>8. [24]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>9. mailto:[25]davidvanooi...@gmail.com
>   10. [26]http://www.davidvanooijen.nl/
>   11. mailto:[27]kome...@gmail.com
>   12. [28]http://omerkatzir.com/
>   13. [29]http://omerkatzir.com/
>   14. [30]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   15. [31]http://omerkatzir.com/
> 
>   --
>   Omer Katzir
>   The Silent Troubadour
>   [32]http://omerkatzir.com
> 
>   --
> 
> References
> 
>   1. mailto:kome...@gmail.com
>   2. mailto:edward.y...@gmail.com
>   3. mailto:davidvanooi...@gmail.com
>   4. mailto:davidvanooi...@gmail.com
>   5. http://www.davidvanooijen.nl/
>   6. mailto:kome...@gmail.com
>   7. http://omerkatzir.com/
>   8. http://omerkatzir.com/
>   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>  10. mailto:davidvanooi...@gmail.com
>  11. http://www.davidvanooijen.nl/
>  12. mailto:kome...@gmail.com
>  13. http://omerkatzir.com/
>  14. http://omerkatzir.com/
>  15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>  16. http://omerkatzir.com/
>  17. mailto:edward.y...@gmail.com
>  18. mailto:davidvanooi...@gmail.com
>  19. mailto:davidvanooi...@gmail.com
>  20. http://www.davidvanooijen.nl/
>  21. mailto:kome...@gmail.com
>  22. 

[LUTE] Re: Addendum

[Lex van Sante]

   To Wayne, a very big thank you for creating and maintaining the lute
   list. Much appreciated!
   Lex, this time from sunny Spain.

   2015-07-24 17:09 GMT+02:00 Arto Wikla [1]wi...@cs.dartmouth.edu:

 Thanks Wayne!
 I am also one of the very early list members... ;-)
 Arto
 On 21/07/15 19:39, Ron Andrico 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
  Date: Tue, 21 Jul 2015 14:58:03 +
  To: [2]edurb...@sea.plala.or.jp; [3]dwinh...@lmi.net
  CC: [4]lute@cs.dartmouth.edu
  From: [5]praelu...@hotmail.com
  Subject: [LUTE] Re: xx problem
 
  Ed, you'll recall that I made the suggestion off-list, and
 that I
  qualified the suggestion with the statement that I do NOT use
 the
  data-mining service. As far as I can tell, any positive uses
 the
  service may have had are negated by the nature and quantity of
 personal
  information it robs from public interactions and private mail
  accounts. As usual, when a service is free then YOU are the
 product.
  RA
   Date: Tue, 21 Jul 2015 23:28:39 +0900
   To: [6]dwinh...@lmi.net
   CC: [7]lute@cs.dartmouth.edu
   From: [8]edurb...@sea.plala.or.jp
   Subject: [LUTE] Re: xx problem
  
   x seems to be a fairly useless thing for me. The main
 use Ive
  made of it is to grab friends pictures to put in my address
 book. I
  never endorse people anymore because then I just get bothered
 by more
  and more messages. However, I did reach Terry through x
 sparked
  by Rons suggestion.
  
   On Jul 21, 2015, at 11:08 AM, Dan Winheld
 [9]dwinh...@lmi.net wrote:
  
To Terry Schumacher and anyone else on xx-
   
I no longer have an account on x. Please stop x
 (if
  possible) from bothering me with contact/endorsement  other
 requests.
  Nothing personal, hostile, reclusive or anything; I just no
 longer
 have
  an account with x- it provides nothing of any personal or
  professional use to me. I can always be contacted through this
 elist
 if
  you do not have my personal email address.
   
Thanks,
   
Dan
 x
 --
 To get on or off this list see list information at
 [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:wi...@cs.dartmouth.edu
   2. mailto:edurb...@sea.plala.or.jp
   3. mailto:dwinh...@lmi.net
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:praelu...@hotmail.com
   6. mailto:dwinh...@lmi.net
   7. mailto:lute@cs.dartmouth.edu
   8. mailto:edurb...@sea.plala.or.jp
   9. mailto:dwinh...@lmi.net
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Improvising Baroque Music

[Lex van Sante]

True. 
As an improviser, even an accomplished one, to compare ones own improvisations 
against properly composed music is demotivating to say the least.
Improvisation is more about the joy of playing than about good music and 
should be qualified accordingly.
Interesting subject though.
Lex
Op 2 jul 2015, om 14:20 heeft Christopher Wilke het volgende geschreven:

 
   Garrison Keillor came through town recently with A Prairie Home
   Companion. (Keillor just named virtuoso mandolinist Chris Thile as his
   replacement, who is quite the improviser himself, that's another
   topic.) I'm not actually a huge fan of his style, but I found this
   interesting.
   Anyway, a local radio host interviewed him and asked, Many people
   probably don't realize how much of the show is ad libbed. After doing
   it for so many years, you probably feel pretty comfortable improvising,
   right?
   Keillor said, I never feel comfortable improvising. Just shame. A
   continual sense of shame that it could have been better.
   I think that just about sums up improvisation. Understand going in that
   no performance will be everything you want it to be. Just go for it!
   Chris
   [1]Sent from Yahoo Mail for iPhone
 
 At Jul 2, 2015, 5:24:57 AM, David van Ooijen wrote:
 
   Improvisation teaches many things besides improvisation: compositional
   awareness, arranging and adapting skills, freedom on the instrument,
   confidence, musical expression (hopefully), a better involvement in
   what you're playing and in a roundabout way you'll become a better
   sight reader because you'll become better at recognizing structure in
   stead of just notes.
   Not 100% relevant to the discussion, but I touch upon improvisation not
   as a goal in itself but as a means in becoming a better musician in the
   series I wrote (am writing) on Zen and lute playing. The series is
   on-line in the Writings section of my website. Here's a direct link:
   [1][2]http://home.kpn.nl/ooije006/david/writings/lutedou8_onemoment_f.h
   tml
   David
   ***
   David van Ooijen
   [2][3]davidvanooi...@gmail.com
   [3]www.davidvanooijen.nl
   ***
   On 2 July 2015 at 10:31, Rob MacKillop [4][4]robmackil...@gmail.com
   wrote:
   Thanks for the comments. Yes, Steve Herberman is dealing mainly
   with
   contrapuntal devices. How well they they would transfer to Dm
   tuning
   remains to be discovered. I have seen many harpsichord players
   rip
   through similar devices many times, and have been duly impressed.
   I
   once joked to a harpsichord player Now do it a semitone higher,
   and
   without batting an eyelid, he did...Steve Herberman and Ted
   Greene are
   the only guys I have seen who can do that on a guitar, which is
   closer
   to the lute than a harpsichord. The thing is, Steve has worked
   out a
   system. I might buy the course to see how he does it.
   So much for contrapuntal improv. What about the topic of
   introducing
   improv ideas and concepts to post beginners? I'd like to see
   improv
   becoming more normal in our learning process, not something to
   put off
   until you have hopefully mastered the instrument (as that will
   never
   happen). For this to happen, we need educational material at
   stepped
   levels. Something for our lute societies, perhaps?
   Rob
   On 2 July 2015 at 07:05, David van Ooijen
   [1][5][5]davidvanooi...@gmail.com
   wrote:
   This time a reply after watching the video (test question:
   What's
   the
   colour of Steve's cat?).
   What I saw was Steve playing written-out formulae in a baroque
   style,
   cycling through many keys. What Chris referred to as 'don't be
   afraid
   to copy' and 'learning many licks', or similar wording, anyway,
   the
   usual jazz teaching method. In the end Steve plays a
   written-out
   single-line exercise and a written out contrapuntal exercise.
   Whether a
   student will be able to use this in his improvisation to go
   beyond the
   formulae, is up to the student, but he will be given the
   harmonic
   and
   contrapuntal tools on the fingerboard as opposed to just on
   paper to
   do so. Yes, it would be great to have this for dm-lute, and I
   don't
   think it would be all that much work to make. Some years ago I
   made a
   few beginners' lessons for playing continuo on dm-lute (on-line
   on my
   website for those interested). There are historical dm continuo
   lessons
   by Perrine and in the Prague University Library Ms. II Kk 51.
   But
   these
   are all harmony oriented, and Steve's approach is focused on
   contrapuntal cadences and formulae. Keyboard players (notably
   organ
   players) are still trained in improvising contrapuntal
   compositions. I
   have a classical guitar colleague who liked to improvise
   baroque
   counterpoint. To call it fugues would be stretching it, but his
   contrapuntal fantasies were convincing enough. I don't think it
   should
   be 

[LUTE] Re: Gut string diameters

[Lex van Sante]

Hi all,

This contraption was said to be invented by the 19th century violinist and 
composer Louis Spohr. 
But you could be right in that it was already in existence and Spohr made it 
famous.

Lex

Op 18 mei 2015, om 22:26 heeft Miles Dempster het volgende geschreven:

 Hi Sean,
 
 A 'V' shaped notch formed by two straight edges set at a small angle to 
 eachother can measure small thicknesses very accurately. The thickness of the 
 string is measured by how far you can put the string into the notch. It 
 wouldn't surprise me if something like this could have used.
 
 
 Miles
 
 
 
 
 On May 18, 2015, at 4:15 PM, Sean Smith lutesm...@mac.com wrote:
 
 
 Thanks, Martin. The idea that in a bundle you'll have an average and 
 outliers makes sense.
 
 ...if you're going to make a homemade roped string (3 strands) the second 
 course is what you use to make a 5th course and the 3rd is what you use to 
 make a 6th course, but I don't think anybody did this in the 16th century.
 
 What then would have been the procedure instead? The stringmaker has a 
 better finished product (as nowadays) perhaps using custom diameters? Or 
 maybe the lengths sold would not have been conducive to amateur 
 stringbuilding? Solid gut? If it was indeed more springy then solid may have 
 been more acceptable.
 
 The nice thing about the roped strings is that while they can be expensive 
 they do last well. If they sound _too_ dead, it's time to change the octave.
 
 The reason I bring this up is that I'm pretty parsimonious when it comes to 
 strings and that would have been an issue for many lutenists without a 
 supportive patron. Would there have been some players who had a deal w/ the 
 local butcher for materials and made their own?
 
 There's an old Japanese saying that when the winds come up the cats 
 disappear! 
 
 Sean
 
 
 On May 18, 2015, at 12:42 PM, Martin Shepherd wrote:
 
 Hi Sean,
 
 Your friend was right - if you're going to make a homemade roped string (3 
 strands) the second course is what you use to make a 5th course and the 3rd 
 is what you use to make a 6th course, but I don't think anybody did this in 
 the 16th century.
 
 My suspicion is that they bought a bundle of strings labelled 3rd course 
 or whatever, then selected their 3rd course strings from amongst them.  The 
 bundle would have included strings of various diameters, around a mean which 
 was determined by the way they were made (how many guts, how they were 
 twisted etc).  This kind of system persisted until the 20th century for 
 violin strings.
 
 If I'm right, this also means that when Dowland says use a 4th course string 
 for the first two frets he doesn't necessarily mean two frets of exactly the 
 same diameter.  He could have graded all the frets very precisely by 
 choosing slightly bigger or smaller strings from each bundle.
 
 M
 
 On 18/05/2015 21:18, Sean Smith wrote:
 In buying and using our lute strings we place an awful lot of faith in our 
 micrometers. I see people changing strings for going up or down a tone or 
 even a semitone. Yes, I think I can feel the tension change and hear it to 
 some degree but we're often talking a difference of microns in string 
 difference.
 
 For example, a change of .42 to a .43 is 10 microns which is not repeatable 
 on my smaller micrometers (even digital) but is on the 6 digital 
 micrometer. For rougher measurements, say, between 1st, 2nd and 3rd 
 courses, the delta is easily seen/felt and I think that even I could make a 
 measurement device for that for further refinement.
 
 In the 16th century, of course, there were no micrometers although I'm sure 
 there were fairly accurate (and perhaps, secret?) methods of fine 
 measurement. I'm wondering how they worked out the diameters. Any place I 
 could read up on this?
 
 Years ago, a friend did some experiments in roped bass strings and found 
 that 5th and 6th courses could be made from combinations of the 1st, 2nd or 
 3rd courses. From this we concluded that nearly all sizes of 6c instruments 
 could be strung with a total of 3 diameters of strings. The 4th course is a 
 little iffy in that it could be made from a thicker 4th size or possibly a 
 combination of 2 chanterelles.
 
 I'm just thinking that by keeping the choices fewer they were able to be 
 more efficient in string technology. On the other hand, I wonder if this 
 tended to keep the lute technology at a halt: ie, you can play anything you 
 want as long as it has the 6 courses of those sizes.
 
 No, nothing was published and the theories are not ready for primetime but 
 I was wondering what other string scientists have come up with. I realize 
 there are the notes in Capirola but I'm thinking by mid-century there had 
 to have been a larger industry at work, judging from the number of books 
 being published and lute inventories.
 
 
 Sean
 
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 ---
 

[LUTE] Re: Vihuela Stringing

[Lex van Sante]

Of course I did not mean the fourth but the third course, sorry for the 
confusion. So Capirola as far as I know did not employ split octave courses.
Where does Fuenllana mention splitting the courses? I have not found any 
reference. As I have no complete edition of Bakfark where does he use this 
technique?
Can anyone inform? 
Op 12 mei 2015, om 18:36 heeft G. C. het volgende geschreven:

   No. But he, together with Bakfark, Fuenllana and whoever propagated the
   relatively rare gimmick of splitting the course. Fingering one of them
   but playing on BOTH. Rather difficult to do though.
   As to the placing of the thinner string in a course, I remember having
   seen also modern baroque lutes strung with the thin one above the thick
   one.
   G.
   On Tue, May 12, 2015 at 6:18 PM, Monica Hall [1]mjlh...@tiscali.co.uk
   wrote:
 
 Does Capirola say that you should play one or other string of an
 octave strung course?
 Monica
 
   --
 
 References
 
   1. mailto:mjlh...@tiscali.co.uk
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vihuela Stringing

[Lex van Sante]

Yes, for instance in Rechercar XIII one has to finger one string of the fourth 
course and plucking both of them.
Op 12 mei 2015, om 18:18 heeft Monica Hall het volgende geschreven:

 Does Capirola say that you should play one or other string of an octave 
 strung course?
 Monica
 
 - Original Message - From: Christopher Wilke chriswi...@yahoo.com
 To: mjlh...@tiscali.co.uk; dwinh...@lmi.net
 Cc: lute@cs.dartmouth.edu
 Sent: Tuesday, May 12, 2015 3:20 PM
 Subject: [LUTE] Re: Vihuela Stringing
 
 
 
  I suppose he meant Capirola.
  Chris
  [1]Sent from Yahoo Mail for iPhone
 
At May 12, 2015, 8:27:26 AM, Monica Hall'mjlh...@tiscali.co.uk'
 
  Fuenllana (1554) prescribes playing only one of the two strings in the
  course in some passages (as does Dalza - does he?)
  As far as I am aware this is not what Fuenllana does. What he does do
  is
  play two different notes on the same course - stopping one string of a
  course and leaving the other unstopped.
 
 References
 
  1. https://yho.com/footer0
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 
 
 

[LUTE] Re: Saturday morning quotes - musicality

[Lex van Sante]

Robby Faverey is an ace classical guitarist and baroque lute player with whom I 
have had the privilege to study.
He is also playing South American folk instruments and old style gut strung 
banjo. He has also played the Sarod. 
He has made his own cello banjo's and enjoys playing the Bach cello suites on 
them. 
More recently he has turned his attention to the viol.
Another multi-instrumentalist pur sang.

Lex van Sante
Leeuwarden


Op 15 mrt 2015, om 09:50 heeft Rob MacKillop het volgende geschreven:

   I think it more pertinent to this forum to mention the number of lute
   players who play the banjo.A
   Ron Andrico - Ron plays in the clawhammer style, where the index (or
   middle) finger of the right hand strikes downwards onto individual
   strings. One of the greatest Old Time banjo players, R. D. Lunceford,
   had this to say of Ron: Ron is one of the finest musicians I've had
   the privilege of playing with.A  A great fiddler, singer, and
   insightful and intuitive guitar player, not to mention a fine old-time
   banjoista. We know Ron and Donna as Mignarda, but check out their
   alter egos, Eulalie:A [1]http://www.eulalie-blue.com
   Tom Berghan - Tom plays with Stephen Stubbs (the lute player and
   guitarist) in a 19th-century banjo-led ensemble. Tom is a wonderful
   lute player, and a fantastic banjo player.
   James Tyler - a brilliant tenor banjoist. Check out this video from the
   BBC programme, The Good Old Days:A [2]https://youtu.be/sZgCpx8BN78A
   Me - Check outA [3]http://robmackillop.net/banjo/A and my YouTube banjo
   playlist:A [4]https://www.youtube.com/playlist?list=PL422073C567EEF259A
- where I play gut-strung fretless 19th-century banjo, 19th-century
   fretted banjo, and 1920s tenor and plectrum banjos.A
   Pat Stefanelli - Pat is French. She plays the theorboA professionally,
   and is a first-rate accompanist. She specialises in accompaniment on
   both theorbo and banjo. Her husband is Eric Stefanelli, who I rate as
   the finest maker of classic banjos - copies of fingerstyle banjos from
   1890 to 1930. They both live in France. Eric is a great player. Here
   they are playing together on two instruments made by
   Eric:A [5]http://[6]youtube.com/watch?v=[7]CCIfanCQxVsA
   Ray Nurse - the Canadian lute player started his musical life as a
   bluegrass banjo player
   Gustav Leonhardt - yes, THAT Gustav Leonhardt. According to Tom
   Berghan, Old Gusty informed him he was really into bluegrass, and toyed
   with a banjo when he had the time.
   There are probably more.A
   Rob MacKillop
   Edinburgh
 
   On 15 March 2015 at 08:02, gary [8]magg...@sonic.net wrote:
 
 I had the privilege of seeing George Van Eps play in duet with Tony
 Ricci while on his last California tour. I went to see him with my
 friend, Eddie Duran, who is also a master jazz guitarist. Van Eps
 was amazing. I felt sorry for Tony Ricci who is an amazing jazz
 guitarist in his own right. The audience was there to see Van Eps
 and when Tony would play, everybody was just waiting for George to
 play again. They took a break and Van Eps, who knew Eddie Duran,
 came over to our table. Eddie had been recording the concert on his
 walkman and, when George came to our table, Eddie shoved his mic in
 George's face and said, Who do you listen to? as a joke. George
 immediately went into his shtick saying with all seriousness, I
 don't listen to guitarists, I listen to piano players... He was
 fond of referring to the guitar as a lap piano. I've been on the
 first ten pages of Harmonic Mechanisms, Vol. I for the last twenty
 years. There are some great videos of George playing on youtube.
 Gary
 On 2015-03-14 15:06, Rob MacKillop wrote:
 
 There's a link on my website, Dan:
 [9]http://robmackillop.net/george-van-eps-method-for-guitar/
 Rob
 [10]www.robmackillop.net
 
 On 14 Mar 2015, at 21:30, Dan Winheld [11]dwinh...@lmi.net wrote:
 
   Alright, alright- I'm not sayin' nuthin- but I never knew G. van Eps
   had a method; is it easily found/avialable via the google? He's a hero
   of mine because of the 7 string business. Love my 7 string
   steel-string, and am annoyed that my classical is only 6.
   DAN
 
 On 3/14/2015 12:27 PM, Rob MacKillop wrote:
 Can I call a halt to this now? I appreciate it, but enough already!
 Everyone get back to work...
 Rob
 [12]www.robmackillop.net
 
 On 14 Mar 2015, at 19:15, Edward Martin [13]edvihuel...@gmail.com
 wrote:
 A  Ron,
 A  That was a tremendous tribute to Rob, ad I cannot think of a
 person
 A  more deserving of it.AA  I visited Rob for a few days last
 summer, and
 A  he was enthusiastic, kind, a wonderful person and fantastic
 musician.A
 A  I cannot say enough good things about him.
 A  ed
 A  On Sat, Mar 14, 2015 at 12:30 PM, Christopher Stetson
 A  [1][14]christophertstet...@gmail.com wrote

[LUTE] Re: Tied frets

[Lex van Sante]

Hi Benjamin,

Why not shorten the neck extension?
In that case you would not have to worry about the number of frets and the 
resulting decrease (maybe op to 10 cm. of diapason for the base strings) would 
possibly not make that much of a difference acoustically.

Greetings,

Lex van Sante
Op 10 mrt 2015, om 09:46 heeft Benjamin Narvey het volgende geschreven:

   H. Still no thoughts?
 
   Sent from my iPad
 
   On 07 Mar 2015, at 23:20, BENJAMIN NARVEY [1]luthi...@gmail.com
   wrote:
 
   Dear collected wisdom,
   I'm rather wondering what the minimum number of tied frets is for
   historical lute instruments, notably for theorbo(s). I am unfortunately
   having to consider having an instrument shortened for travel purposes,
   and this may involve reducing the stopped string length; I know of many
   large theorboes with only 8 tied frets, but are there any with only 7?
   With best wishes,
   Benjamin
   --
   [2]www.luthiste.com
   t +33 (0) 6 71 79 98 98
 
   --
 
 References
 
   1. mailto:luthi...@gmail.com
   2. http://www.luthiste.com/
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tab for John Sturt's prelude.

[Lex van Sante]

I would say they are f and h representing respectively a c and d if the 
top string has been tuned to g'.

Happy luting!

Lex
Op 28 okt 2014, om 10:09 heeft b...@symbol4.de het volgende geschreven:

 
   They are e and f.
   To me they don't seem very unfamiliar, at least I'd say that similar
   shapes can be found elsewhere. But I'm not a specialist in English mss
   for renaissance lute..
   B
   Gesendet: Dienstag, 28. Oktober 2014 um 09:38 Uhr
   Von: Herbert Ward wa...@physics.utexas.edu
   An: lute@cs.dartmouth.edu
   Betreff: [LUTE] Re: Tab for John Sturt's prelude.
 That is on f.22r of the ML Lute Book. Here is a link to that
   manuscript on
 Sarge Gerbode's web site.
 
   [1]http://gerbode.net/facsimiles/british_library/BL_MS_Add_38539_john_s
   turt_lute_book/
   Thank you.
   In the middle of the third line, on the first course, there
   are two adjacent tablature letters of unfamiliar shape.
   The first resembles a 'p' with a long straight tail. And the
   second resembles a 'p' with a hooked tail. Can someone identify
   these two letters for me? Are they 'f' and 'h'?
   Are these shapes standard for that time and place? Or are
   they an idiosyncrasy of the writer?
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 References
 
   1. 
 http://gerbode.net/facsimiles/british_library/BL_MS_Add_38539_john_sturt_lute_book/
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Baroquelute test

[Lex van Sante]

Hi Anton,

I would like to test it but I can't find it anywhere on IMSLP.

Keep up the good work!

Lex
Op 1 sep 2014, om 10:33 heeft Anton Höger het volgende geschreven:

 hi,
 
 I will test a Baroquelute Intabulation. (You know I don’t play)
 
 Will anybody test it, if the Intabulation is correct?
 
 It is a A. Scarlatti piece for Soprano and Baroquelute.
 
 
 Anton
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Psalms of David

[Lex van Sante]

   Hi Konstantin,
   The Dutch Lute Society has published a Facsimile of all of Vallet's
   works.A
   Have a look at [1]www.nederlandseluitvereniging.nl

   2014-07-10 10:40 GMT+02:00 Konstantin Shchenikov
   [2]konstantin.n...@gmail.com:

 A  A Dear friends,
 A  A I am looking for Vallet's Psalms of David for voice and lute
 (lutes).
 A  A Do anybody knows where can I get it? Or may be somebody could
 share it?
 A  A Thanks a lot in advance for any responce!
 A  A Greetings from St.Petersburg,
 A  A Konstantin
 A  A --
 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.nederlandseluitvereniging.nl/
   2. mailto:konstantin.n...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Carmen's Whistle

[Lex van Sante]

   Hi all,
   Paul writes on the sleeve notes that he has added embelishments as a
   hommage to Julian Bream. Bream used to play them but they were of his
   own invention. So theu cannot be found in ye olde scriptures.
   my $ 0.02
   Enjoy the weekend
   Lex

   2014-06-14 18:17 GMT+02:00 AJN [1]arthurjn...@verizon.net:

 A  A In other words, you need the PIckeringe setting. Facsimile on
 Veylit's
 A  A Django pages. A Page 58-59 (the cited page 59 is a
 continuation).
 A  A On 06/14/14, AJN[2]arthurjn...@verizon.net wrote:
 A  A The Carman's Whistle is a ballad tune about a lad meeting a
 damsel
 A  A under a myrtle tree.
 A  A O God a mercy: Carman, thou art a lively lad,
 A  A Thou has as rare a whistle as ever Carman had.
 A  A The setting in Dd.5.78.3 (Egerton), fol. 48v (see Gerbode) has
 no
 A  A composer attribution. It has two additional variations, which
 A  A sound too lugubrious for John Johnson. POD does not include
 them
 A  A On 06/13/14, Nancy Carlin[3]na...@nancycarlinassociates.com
 wrote:
 A  A There are 2 Carmen's Whistles - to check titles like this the
 easiest
 A  A way is to go to Julia Craig McFeely's dissertation. There is a
 link to
 A  A it on the LSA's Links section of the web site and scroll down
 to her
 A  A index of titles. One version is from Pickering and the other is
 it Dd.
 A  A 5.78. Next an easy way to start looking at the music is to
 check Sarge
 A  A Gerbode's web site.
 A  A [1][1][4]www.Gerbode.net
 A  A You can find Pickering by going to Source facsimiles, then
 British
 A  A Library and it is listed as Eg. 2046. Sarge has dd.5.78 under
 A  A Cambridge. You could also check out Jan Berggers edition of
 Johnson
 A  A that is available from Tree Editions. If you want to look at
 another
 A  A version - there is one for keyboard in the Fitzwilliam Virginal
 Book.
 A  A Nancy
 A  A  Greetings,
 A  A  Could someone point me to the version of this Johnson work
 that Paul
 A  A  O'Dette plays here:
 A  A  [1][2][2][5]http://youtu.be/3q5pi-Ad7JA
 A  A  Thank you!
 A  A  Charles Mokotoff
 A  A 
 A  A  --
 A  A 
 A  A  References
 A  A 
 A  A  1. [3][3][6]http://youtu.be/3q5pi-Ad7JA
 A  A 
 A  A 
 A  A  To get on or off this list see list information at
 A  A 
 [4][4][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A 
 A  A --
 A  A Nancy Carlin
 A  A Administrator THE LUTE SOCIETY OF AMERICA
 A  A [5][5][8]http://LuteSocietyofAmerica.org
 A  A PO Box 6499
 A  A Concord, CA 94524
 A  A USA
 A  A [9]925 / 686-5800
 A  A [6][6][10]www.groundsanddivisions.info
 A  A [7][7][11]www.nancycarlinassociates.com
 A  A References
 A  A 1. [8][12]http://www.gerbode.net/
 A  A 2. [9][13]http://youtu.be/3q5pi-Ad7JA
 A  A 3. [10][14]http://youtu.be/3q5pi-Ad7JA
 A  A 4. [11][15]http://www.cs.dartmouth.edu/
 A  A 5. [12][16]http://lutesocietyofamerica.org/
 A  A 6. [13][17]http://www.groundsanddivisions.info/
 A  A 7. [14][18]http://www.nancycarlinassociates.com/
 References
 A  A 1. [19]http://www.gerbode.net/
 A  A 2. [20]http://youtu.be/3q5pi-Ad7JA
 A  A 3. [21]http://youtu.be/3q5pi-Ad7JA
 A  A 4. [22]http://www.cs.dartmouth.edu/
 A  A 5. [23]http://lutesocietyofamerica.org/
 A  A 6. [24]http://www.groundsanddivisions.info/
 A  A 7. [25]http://www.nancycarlinassociates.com/
 A  A 8. [26]http://www.gerbode.net/
 A  A 9. [27]http://youtu.be/3q5pi-Ad7JA
 A  10. [28]http://youtu.be/3q5pi-Ad7JA
 A  11. [29]http://www.cs.dartmouth.edu/
 A  12. [30]http://lutesocietyofamerica.org/
 A  13. [31]http://www.groundsanddivisions.info/
 A  14. [32]http://www.nancycarlinassociates.com/

   --

References

   1. mailto:arthurjn...@verizon.net
   2. mailto:arthurjn...@verizon.net
   3. mailto:na...@nancycarlinassociates.com
   4. http://www.Gerbode.net/
   5. http://youtu.be/3q5pi-Ad7JA
   6. http://youtu.be/3q5pi-Ad7JA
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. http://LuteSocietyofAmerica.org/
   9. tel:925%20%2F%20686-5800
  10. http://www.groundsanddivisions.info/
  11. http://www.nancycarlinassociates.com/
  12. http://www.gerbode.net/
  13. http://youtu.be/3q5pi-Ad7JA
  14. http://youtu.be/3q5pi-Ad7JA
  15. http://www.cs.dartmouth.edu/
  16. http://lutesocietyofamerica.org/
  17. http://www.groundsanddivisions.info/
  18. http://www.nancycarlinassociates.com/
  19. http://www.gerbode.net/
  20. http://youtu.be/3q5pi-Ad7JA
  21. http://youtu.be/3q5pi-Ad7JA
  22. http://www.cs.dartmouth.edu/
  23. http://lutesocietyofamerica.org/
  24. http://www.groundsanddivisions.info/
  25. http://www.nancycarlinassociates.com/
  26. http://www.gerbode.net/
  27. http://youtu.be/3q5pi-Ad7JA
  28. 

[LUTE] Re: versions of Tombeau do Mezangeau

[Lex van Sante]

Begin doorgestuurd bericht:

 Van: Lex van Sante lvansa...@gmail.com
 Datum: 21 april 2014 16:24:44 GMT+02:00
 Aan: Mathias Rösel mathias.roe...@t-online.de
 Onderwerp: Antw.: [LUTE] Re: versions of Tombeau do Mezangeau
 
 Mathias,
 
 I understand what you mean but for instance in Bittner's book there is also a 
 piece with the name Tombeau
 In France this would be named Tombeau de Bittner. Just like Courante de 
 Gaultier for instance.
 I was only suggesting a possibility. Mesangeau could be the composer or he 
 could be the dedicatee.
 
 Lex
 Op 21 apr 2014, om 12:11 heeft Mathias Rösel het volgende geschreven:
 
 Not only did Mesangeau use this tuning a lot. This piece has many
 stylistic traits
 characteristic of him.
 I suggest he could well have been the composer. Otherwise someone else has
 deliberately cited from his work. Anyway Tombeau de Mesangeau might mean
 Tombeau by Mesangeau as well as Tombeau for Mesangeau. If my suggestion is
 right, this tombeau would predate the one composed by Ennemond Gaultier.
 Lex
 
 Would be funny, though. Correct me if I'm wrong, I was thinking that
 tombeaux in the 17th century were composed for real deceased persons, and
 not just like that as a stylistic exercise like in the 20th/21st centuries.
 Unless it be clear for whom this tombeau was penned other than for late
 Mesangeau, I'd assume it was written at the occasion of Mesangeau's obituary
 by someone else.
 
 Mathias
 
 
 
 according to Peter's wonderful database, 3 have been found:
 
 F-Pn ms. Vm7 6211, 31v
 http://gallica.bnf.fr/ark:/12148/btv1b52503776m/f66.image
 
 That's a different piece, in one of the transistor tunings :-) May be
 BY Mezangeau.
 
 That is the flat tuning, (like Lester) which Mesangeau did use a lot.
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


--

[LUTE] Re: versions of Tombeau do Mezangeau

[Lex van Sante]

Begin doorgestuurd bericht:

 Van: Lex van Sante lvansa...@gmail.com
 Datum: 21 april 2014 16:39:59 GMT+02:00
 Aan: Bernd Haegemann b...@symbol4.de
 Onderwerp: Antw.: [LUTE] Re: versions of Tombeau do Mezangeau
 
 The PAN database lists a concordance for Barython as D-Kl 2° Ms. Mus. 61.L1
 The number of the piece in this PAN database is 3.106
 The lute version is in the french flat tuning as Mace calls it
 Lex
 Op 21 apr 2014, om 15:14 heeft Bernd Haegemann het volgende geschreven:
 
 Merci, Jean-Marie!
 We find the dépouillement also here:
 
 http://mss.slweiss.de/index.php?id=1type=msms=F-Pn6211lang=deushowmss=1
 
 I've never seen a composer named Lamare Le Gras in an other ms.
 There is one piece ascribed to Mesangeau (some are ascribed in other sources 
 to Mesangeau.)
 One of the hands writes ton enrhumé as ton arumay which looks somehow 
 English.
 Crypto fans: what does Courante A.d.m.L.b.p.m.g. mean?
 On 46v I would read Courante diminution instead of diminutivy.
 
 Happy Easter!
 B
 
 
 
 
 
 On 21.04.2014 13:30, Jean-Marie Poirier wrote:
 Well yes, actually. There is a complete listing of the pieces in the 
 manuscript and the attributionw whenever possible in Sources Manuscrites 
 en Tablature, luth et théorbe, Catalogue descriptif Editions V. Koerner : 
 Baden Baden et Bouxwiller, 1991.
 Ms 6211 is presented on pages 198 - 141 by Monique Rollin.
 
 The authors are the two Gaultiers, Dubut, Dupré, Emond, Lamrare Le Gras, 
 Vincent, Bouvier and anonymous...
 
 There are two Tombeaux de Mésangeau. 1 on f° 8v - 9 (called Allemande du 
 vieux gautier, D minor tuning) and the other one ob f° 31v - 32 , flat 
 tuning)
 
 Best,
 
 Jean-Marie
 
  
 
 --
  
 
 Begin forwarded message:
 
 From: Mathias Rösel mathias.roe...@t-online.de
 Subject: [LUTE] Re: versions of Tombeau do Mezangeau
 Date: April 21, 2014 at 6:11:14 AM EDT
 To: Lute List lute@cs.dartmouth.edu
 
 Not only did Mesangeau use this tuning a lot. This piece has many
 stylistic traits
 characteristic of him.
 I suggest he could well have been the composer. Otherwise someone else 
 has
 deliberately cited from his work. Anyway Tombeau de Mesangeau might mean
 Tombeau by Mesangeau as well as Tombeau for Mesangeau. If my suggestion 
 is
 right, this tombeau would predate the one composed by Ennemond Gaultier.
 Lex
 Would be funny, though. Correct me if I'm wrong, I was thinking that
 tombeaux in the 17th century were composed for real deceased persons, and
 not just like that as a stylistic exercise like in the 20th/21st 
 centuries.
 Unless it be clear for whom this tombeau was penned other than for late
 Mesangeau, I'd assume it was written at the occasion of Mesangeau's 
 obituary
 by someone else.
 
 Mathias
 
 So who wrote the other pieces in VM7 6211 ?  Has someone published an 
 analysis?
 
  Wayne
 
 
  according to Peter's wonderful database, 3 have been found:
 
 F-Pn ms. Vm7 6211, 31v
 http://gallica.bnf.fr/ark:/12148/btv1b52503776m/f66.image
 
 That's a different piece, in one of the transistor tunings :-) May be
 BY Mezangeau.
 That is the flat tuning, (like Lester) which Mesangeau did use a lot.
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 
 
 
 
 
 


--

[LUTE] Re: versions of Tombeau do Mezangeau

[Lex van Sante]

Not only did Mesangeau use this tuning a lot. This piece has many stylistic 
traits characteristic of him.
I suggest he could well have been the composer. Otherwise someone else has 
deliberately cited
from his work. Anyway Tombeau de Mesangeau might mean Tombeau by Mesangeau as 
well as Tombeau for Mesangeau. If my suggestion is right, this tombeau would 
predate the one composed by Ennemond Gaultier.
Lex


Op 20 apr 2014, om 14:29 heeft wbc het volgende geschreven:

 
 
 Begin forwarded message:
 
 From: Bernd Haegemann b...@symbol4.de
 
 On 17.04.2014 16:10, Arto Wikla wrote:
   Hi,
   according to Peter's wonderful database, 3 have been found:
 
 F-Pn ms. Vm7 6211, 31v
 http://gallica.bnf.fr/ark:/12148/btv1b52503776m/f66.image
 
 That's a different piece, in one of the transistor tunings :-)
 May be BY Mezangeau.
 
 That is the flat tuning, (like Lester) which Mesangeau did use a lot.
 
  W
 
 
 --
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] ms. Doni

[Lex van Sante]

Hi all!

Does anyone know where to find the Doni ms. for archlute?

Happy luting!

Lex



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

[LUTE] 2014

[Lex van Sante]

   To all of you, happy luting in 2014!
   Lex

   --


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

[LUTE] Re: Rochester, New York, Eastman School of Music, Sibley Music Library, MS M.140.V.186

[Lex van Sante]

   Thanks a lot  for the link, Rainer!
   Happy luting in 2014!
   Lex

   2013/12/30 adS [1]rainer.aus-dem-spr...@gmx.de

 [2]http://hdl.handle.net/1802/27721
 Rainer adS
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:rainer.aus-dem-spr...@gmx.de
   2. http://hdl.handle.net/1802/27721
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rochester, New York, Eastman School of Music, Sibley Music Library, MS M.140.V.186

[Lex van Sante]

   Lespine is a name that is mentioned several times. Meaning Charles de
   Lespine .
   More info at [1]http://www.tabulatura.com/Lespine.htm
   Happy luting in 2014!
   Lex

   2013/12/30 Ed Durbrow [2]edurb...@gmail.com

   What is the name of this book? Who is primarily represented?
   On Dec 30, 2013, at 8:35 PM, Lex van Sante [3]lvansa...@gmail.com
   wrote:

   Thanks a lot  for the link, Rainer!
   Happy luting in 2014!
   Lex
   2013/12/30 adS [1][4]rainer.aus-dem-spr...@gmx.de
 [2][5]http://hdl.handle.net/1802/27721
 Rainer adS
 To get on or off this list see list information at
 [3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
 References
   1. [7]mailto:rainer.aus-dem-spr...@gmx.de
   2. [8]http://hdl.handle.net/1802/27721
   3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   Ed Durbrow
   Saitama, Japan
   [10]http://www.youtube.com/user/edurbrow?feature=watch
   [11]https://soundcloud.com/ed-durbrow
   [12]http://www9.plala.or.jp/edurbrow/

   --

References

   1. http://www.tabulatura.com/Lespine.htm
   2. mailto:edurb...@gmail.com
   3. mailto:lvansa...@gmail.com
   4. mailto:rainer.aus-dem-spr...@gmx.de
   5. http://hdl.handle.net/1802/27721
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:rainer.aus-dem-spr...@gmx.de
   8. http://hdl.handle.net/1802/27721
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. http://www.youtube.com/user/edurbrow?feature=watch
  11. https://soundcloud.com/ed-durbrow
  12. http://www9.plala.or.jp/edurbrow/

[LUTE] Re: Best body fret material?

[Lex van Sante]

Two factors are of importance here. First the fret has to be crowned to get a 
good tone however, many soundboards are very thin in the area where the body 
frets are supposed to be located. This makes tone production a wobbly affair. 
It is easy to know where the bars are situated  because where the body fret is 
positioned on or very close to a bar the sound is much improved.
Some luthiers glue additional bars to the soundboard to stiffen it up in the 
critical area, although the old ones sometimes do not have those bars. 
Not all historical lutes had body frets or so it seems. My favorite fret 
material is bamboo as it is very easy to split and after glueing it on is very 
easy to crown and adjust the height with a small chisel. Take care not to dig 
in the belly though!
Happy luting!

Lex
Op 30 okt 2013, om 06:05 heeft Dan Winheld het volgende geschreven:

 Talk of tastini has gotten me wondering, what is the best material for body 
 frets? I have been playing a lot of music recently that dances around in the 
 lute's stratosphere- Melchior Neusidler, Mudarra, Milan's advanced fantasias, 
 etc. The plain wooden frets I have now-  probably Maple, maybe Boxwood; sound 
 pretty terrible compared to the gut frets. I am thinking Ebony, some other 
 dense tropical hardwood, bone, or even some modern synthetic- but only if 
 aesthetically acceptable  sonically superior. If anyone knows of some magic 
 non-metallic body fret material I would really like to know.
 
 Part of the problem is the buzzing, unclean sound that results from a squared 
 off fret- an inevitable result of having to shave them down for proper 
 clearance after gluing down. Ideally, they should be crowned- or at least 
 rounded edges for best tone. Tough, fussy job to do even before installation 
 for the non-luthier DIY amateur.
 
 Thanks all for any enlightenment on this bit of lute pain.
 
 Dan
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Address

[Lex van Sante]

Hi Monica,

try http://www.baroquelute.com/contact-2/

this is the contact form of his website.

Cheers, Lex
Op 3 okt 2013, om 22:16 heeft Monica Hall het volgende geschreven:

 
 
   Does anyone have an e-mail address for Timothy Burris?
 
 
 
   Monica
 
   --
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: chord fingering

[Lex van Sante]

I do the same but for ease of mind I've positioned the second and third course 
just a little bit closer to one another.
The challenge is to play it in such a way that also the empty first course 
sounds clear.  
Happy luting!

Lex
Op 9 sep 2013, om 13:02 heeft Rob MacKillop het volgende geschreven:

   I only ever use just the first finger for the first fret. Aim for the
   middle...
   Rob
 
   On 9 September 2013 11:56, William Samson [1]willsam...@yahoo.co.uk
   wrote:
 
I would like to know too :)
I think the answer is a partial barree with the first finger,
 avoiding
fouling the first string. For me this needs a generous space
 between
first and second courses.
Any other suggestions?
Bill
Sent from Yahoo! Mail on Android
 
 __
From: Edward C. Yong [2]edward.y...@gmail.com;
To: Lute List [3]lute@cs.dartmouth.edu;
Subject: [LUTE] chord fingering
Sent: Mon, Sep 9, 2013 10:19:49 AM
 
  Hi collective wisdom of lutenists!
  is there a preferred fingering for this:
  _0_
  _1_
  _1_
  _2_
  _3_
  ___
  everything feels awkward :(
  Thanks everyone!
  Edward Chrysogonus Yong
 
[1][4]edward.y...@gmail.com
 
  To get on or off this list see list information at
 
[2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. javascript:return
2. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. mailto:willsam...@yahoo.co.uk
   2. mailto:edward.y...@gmail.com
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:edward.y...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Summary intavolations 33

[Lex van Sante]

Hi Anton.
If you have an Intel Mac it is quite possible to install Windows. And by 
consequence you will be able to run Fronimo.
The cheapestst solution would be to run Windows via Bootcamp. Bootcamp creates 
a separate partition on your Mac in which you can install the windows version 
of your choice. You will need a license for the windows version you are using. 
You could use the version you had installed on your old windows computer. In 
order to get it running legally on your Mac you would have to scrap your 
Windows computer and phone Microsoft support telling that you have changed your 
motherboard and you need a new registration. I'll be happy to answer questions 
you might have.

Keep on luting!

Lex
Op 30 jun 2013, om 16:59 heeft Anton Höger het volgende geschreven:

 Daniel,
 
 thanks, Yes I know, the Fronino files are much more beautiful, but I am 
 working on a Mac. The old Windows, where Fronimo is installed, is only used 
 in extremly cases.
 
 I spoke with Mr. Tribioli, but he does not see any urgent to develop for the 
 Mac too!
 
 Anton
 
 
 
 Am 30.06.2013 um 15:37 schrieb Daniel F. Heiman:
 
 Anton:
 
 I strongly suggest that you go back to using Fronimo for your output files.
 
 
 The software you are currently running is problematic in several ways:
 - the font is not properly designed for tablature
 – stacked chords containing 'a,' 'd' and 'b' tab letters just become a
 muddle.
 – an 'f' character over a 'b' character on adjacent strings is a visual
 mess.
 - having the dots on the tab characters instead of the rhythm signs is a
 disaster, especially because the spacing between the character and the dot
 is inconsistent
 – a dotted 'a' character, a dotted 'd' character and a 'd' character
 without a dot are sometimes difficult to distinguish without a magnifying
 glass.
 – an 'f' character and a dotted 'f' character are extremely difficult to
 differentiate when reading rapidly.
 
 Some of your ensemble arrangements look interesting.  I am hoping to have a
 chance to try out a few of them next week at the Madison Early Music
 Festival.
 
 Regards,
 
 Daniel Heiman
 
 -Original Message-
 From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
 Of Anton Höger
 Sent: 29 June, 2013 03:50
 To: Lutelist List
 Subject: [LUTE] Summary intavolations 33
 
 
 Hi,
 
 there are new Lute Intavolations on IMSLP
 
 (and I overwirked my homepage-  http://lute-ensemble-tabulatures.npage.de/
 
 Enjoy them 
 Anton
 
 
 
 for 4 lutes  (Unisono)
 
 Hassler, Hans LeoCanzon noni toni
 http://imslp.org/wiki/Sacri_Concentus_(Hassler,_Hans_Leo)#IMSLP285861
 and the same for 4 lutes ad Quartam (2a-lutes and 2 D-lutes) or 2 a-lutes
 and 2 E-lutes (I always prefer this combination!)
 
 
 
 for 4 lutes (Ad secundam--g,g,g,d-lutes)
 
 Hassler, Hans LeoCanzon duodecim tonig,g,g,D
 http://imslp.org/wiki/Laudate_Dominum_omnes_gentes_(Hassler,_Hans_Leo)#IMSLP
 284912
 
 
 
 2 Sopranos  2 Lutes in g
 
 Gagliano, Marco da   Aura in tanto lasciva   2 Sopranos  2 Lutes
 http://imslp.org/wiki/Su_la_sponda_del_Tebro_humida_(Gagliano,_Marco_da)
 
 2 Lutes Unisono
 
 
 
 Kotter, Hans Präludium in Fa
 http://imslp.org/wiki/Präludium_in_Fa_(Kotter,_Hans)
 
 
 Schmid, Bernhard d. ÄEin guter Dantz
 http://imslp.org/wiki/Ein_guter_Dantz_(Schmid_I,_Bernhard)#IMSLP286343
 
 
 
 
 
 --
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 
 
 

[LUTE] Re: Changing tempo.

[Lex van Sante]

I would think that changing tempi in a piece would be appropriate for musical 
in stead of technical reasons.
Sometimes these two reasons happen to occur at the same time which makes us 
happy no end.
Happy luting 2uall!
Lex
Op 17 mei 2013, om 03:40 heeft Tobiah het volgende geschreven:

 
 into ritardando, in as graceful a manor as possible
 
 Haha, Sutton Court, for instance.
 
 I guess I'm in my cups, in a manner of speaking.
 
 Tobiah
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Damping overspun strings.

[Lex van Sante]

Hi,

Overspun strings get dull when they get old but the sustain stays about the 
same.
A player who uses a damping technique on overspuns in stead of foam rubber or 
other such contraptions is Hoppy.

If one doesn't feel like using gut strings, I find the KF harpstrings of 
Savarez a pretty good substitute.
There is a conversion table on their website to make life easier.
Check out http://www.savarez.fr/anglais/harpe.html
You get to the conversion table via the menu item chart comparatif

In my experience these bass strings work best at a tension of 21 to 24N.

My 2pence

Lex



Op 21 feb 2013, om 08:31 heeft Ed Durbrow het volgende geschreven:

 Or you can just use them for about 20 years. They get pretty dull by then.
 
 On Feb 21, 2013, at 1:59 PM, Herbert Ward wa...@physics.utexas.edu wrote:
 
 
 One often hears that overspun strings
 sustains too long, compared with gut strings.
 
 Thus it seems strange that I've never
 seen anyone damp overspun strings with
 foam rubber.
 
 Is is easy to control the amount
 of damping by using dampers of different sizes,
 or by sliding dampers farther or closer
 to the bridge.
 
 Strings damped this way don't sound like gut,
 but for some pieces I find them a significant
 improvement.
 
 If you're lucky enough to have yellow
 foam rubber instead of pink, the dampers
 will match the soundboard rather well.
 
 Alternatively, there are also opportune times,
 notably at the end of pieces, when you can damp
 a string with your thumb to good effect.
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 Ed Durbrow
 Saitama, Japan
 http://www.youtube.com/user/edurbrow?feature=watch
 http://www9.plala.or.jp/edurbrow/
 
 
 
 

[LUTE] Re: Lute painting

[Lex van Sante]

David, the strings are running alongside the extended neck in stead of passing 
over it.
So the second pegbox has to be off-axle.
With Bill I wonder.

Lex
Op 4 feb 2013, om 16:07 heeft David Van Edwards het volgende geschreven:

 Dear Bill,
 
 I assume one of these.
 http://www.vanedwards.co.uk/93.tif
 
 Sixtus Rauwolf Augsburg 1599 now in Copenhagen No. 93
 
 This is the sole survivor of this type that Molenaer made famous. But 
 your painting has the lower strings offset in in a strange, rather 
 excessive, manner.  Maybe a case of dodgy perspective rather than 
 distortion. But if the offset is genuine then the upper pegbox must 
 be something other, and to me unknown.
 
 Best wishes,
 
 David
 
 
 
 At 13:54 + 4/2/13, William Samson wrote:
   I wonder what the layout of the upper head of this lute might be?
 
   [1]http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif
 
   Artist Jacopo Vignale, early 17th Century.
 
   Bill
 
   --
 
 References
 
   1. http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 -- 
 The Smokehouse,
 6 Whitwell Road,
 Norwich,  NR1 4HB  
 England.
 
 Telephone: + 44 (0)1603 629899
 Website: http://www.vanedwards.co.uk
 
 

[LUTE] Re: 6c guittar

[Lex van Sante]

Yep!

;-)

Lex

Op 29 jan 2013, om 21:40 heeft Rob MacKillop het volgende geschreven:

 Now this will be piss me off right royally if you nutters start turning my 
 video into an excuse for ranting about what an effing guitar is! Just listen 
 to the damn thing, and keep your mouth shut.
 
 :-)
 
 Rob
 
 www.robmackillop.net 
 
 On 29 Jan 2013, at 19:59, Pieter Van Tichelen pie...@vantichelen.name 
 wrote:
 
  Hi Stuart,
  Yes, the terms for plucked instruments are confusing all the time. Even
  this day - if you say guitar, some people think of the electric, other
  of the jazz, folk or even other instruments... However, I believe you
  mixed up something in my argument. The English guit(t)ar I simply
  mentioned as an example of confusing names for instruments - which
  point you clearly got.
  However, I'm not linking that (English) guitar but the cittern-type
  by the name gittern to the medieval gittern. If you're really
  interested, I might dig up my original article about it - where I link
  it to the Praetorius section of the klein Englisch Zitterlein. Ward's
  book is a good starting point in any case, to trace it's first
  introduction to England in 1550 and later developments.
  Kind regards,
  Pieter
  ___
 
  Van: WALSH STUART s.wa...@ntlworld.com
  Verzonden: dinsdag 29 januari 2013 20:35
  Aan: William Samson willsam...@yahoo.co.uk
  Onderwerp: [LUTE] Re: 6c guittar
  On 29/01/2013 18:11, William Samson wrote:
 What a gorgeous sound!
 
 Now are you SURE it's a 'guittar'? Not a Gittariglia? Or a
 Kitherone? Or a Banjino Scotsese? Or a Mandolele Giorgio Formbyana?
 Or a Strattolino Hankus B. Marviniensis?. . .
  I've just left a compliment to Rob on youtube. So, now, to get back to
  arguing. I think Pieter was hinting at an argument that the 'English
  guitar' (dunno how Rob how got himself to actually write those words
  out!) is a descendant of the medieval gittern. He (Pieter) might have
  been suggesting that even as late as the 18th century, the terms
  guitar,
  guittar, gittern etc etc etc for people in Britain didn't simply, or
  only, or even most naturally, mean the figure-of-eight thing. (The
  insistence, today, of the double tt spelling of 'guittar' rather than
  'guitar' to somehow show that the English guitar isn't really a guitar,
  would, I think have baffled people at the time of its popularity.)
  Today we think it is so odd that 18th century Brits called the English
  guitar (a sort of cittern) a common guitar, a lesser guitar, a guitar,
  guittar (and quite a few other names).At the time, though, they might
  not have thought it so odd because they didn't have the concept that
  the
  only possible thing an instrument called a guitar, guittar, gittern etc
  etc must be the figure-of-eight, 'Spanish' guitar.
  It's arbitrary that we have settled on one spelling (in English) -
  guitar, and one form, the figure-of-eight body type, from all the
  names in the past with which it stood on equal footing - guitern,
  gittern, guittar, gytron etc etc etc which might have meant at
  different
  times, lute-like things, cittern-like things and figure-of-eight
  thingies. So today, when we see the word 'guitar' we are apt to think
  the instrument 'must' be a figure-of-eight instrument (at the very
  least). But this can mislead us about the past.
  And this is what I understand R. Meucci to be saying about the Italian
  word, 'chitarra' (and variant spellings of it).
  Stuart
 
 Looking forward to hearing it in the flesh on Saturday at the
  Scottish
 Lute and Early Guitar Society meeting!
 
 Bill
 From: Rob MacKillop robmackil...@gmail.com
 To: Lute lute@cs.dartmouth.edu
 Sent: Tuesday, 29 January 2013, 17:37
 Subject: [LUTE] 6c guittar
 Just to get us away from all the bickering...
 [1][1]http://youtu.be/N3YaFJxWCXk
 Rob
 --
 References
 1. [2]http://youtu.be/N3YaFJxWCXk
 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://youtu.be/N3YaFJxWCXk
 2. http://youtu.be/N3YaFJxWCXk
 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
 
 
 

[LUTE] Re: Calata de StrAmbotto

[Lex van Sante]

Milan also notated the top string as the upper line didn't he?
Op 21 jan 2013, om 19:01 heeft Monica Hall het volgende geschreven:

 Yes - that is certainly so - I had forgotten that.  It suggest Neapolitan but 
 doesn't prove what shape the instrument was.
 
 Monica
 
 - Original Message - From: Gary R. Boye boy...@appstate.edu
 To: Monica Hall mjlh...@tiscali.co.uk
 Cc: Sean Smith lutesm...@mac.com; Lutelist lute@cs.dartmouth.edu
 Sent: Monday, January 21, 2013 5:29 PM
 Subject: [LUTE] Re: Calata de StrAmbotto
 
 
 Monica et al.,
 
 Note also that--very unusually--the Barberiis pieces are in inverted Italian 
 tablature . . . with the upper line being the highest pitched string. 
 Another indication that they are somehow unique?
 
 Gary
 
 On 1/21/2013 5:38 AM, Monica Hall wrote:
 I am afraid the pieces in Barberiis are probably not for the 4-course
 guitar but - as Stuart has kindly pointed out with the appropriate
 reference - for a small 4-course lute or mandora.
 
 Renato Meucci, Da 'chitarra italiana' a 'chitarrone': una nuova
 interpretazione; in Enrico Radesca da Foggia e il suo tempo Atti del
 Convegno di studi, Foggia 7-8 Aprile 2000, pp. 30 - 57.
 
 There is a case to be made that this music by Bareriis isn't for
 figure-of-eight 'normal'-if-tiny 'Spanish guitar but for a small
 gittern/mandore-type instrument.
 
 There no hard evidence that the 4-course guitar was played in Italy.
 
 Monica
 
 
 
 
 - Original Message - From: Sean Smith lutesm...@mac.com
 To: lute lute@cs.dartmouth.edu
 Sent: Sunday, January 20, 2013 10:51 PM
 Subject: [LUTE] Re: Calata de StrAmbotto
 
 
 
 Thanks for the reminder, Arthur. I knew about these but had forgotten
 them
 (too). It is more support that the little guitar was being played and
 even
 written for.
 
 Sean
 
 
 On Jan 20, 2013, at 2:32 PM, Arthur Ness wrote:
 
 The link is at the very bttom.
 - Original Message - From: Arthur Ness
 arthurjn...@verizon.net
 To: Monica Hall mjlh...@tiscali.co.uk; Sean Smith
 lutesm...@mac.com
 Cc: Lutelist lute@cs.dartmouth.edu
 Sent: Sunday, January 20, 2013 5:21 PM
 Subject: [LUTE] Re: Calata de StrAmbotto
 
 
 Monica surely has simply forgotten about these Italian guitar pieces.
 Just four pieces in a century is virtually the same as saying there are
 no pieces.g:
 See [1]http://purl.org/rism/BI/1549/39  Sigs, Gg24v-Hh1v (last two
 pages)snip
 References
 1. http://purl.org/rism/BI/1549/39
 2. mailto:mjlh...@tiscali.co.uk
 3. mailto:lutesm...@mac.com
 4. mailto:lute@cs.dartmouth.edu
 5. mailto:lutesm...@mac.com
 6. mailto:lute@cs.dartmouth.edu
 7. mailto:lutesm...@mac.com
 8. mailto:lute@cs.dartmouth.edu
 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 
 
 -- 
 Dr. Gary R. Boye
 Professor and Music Librarian
 Appalachian State University
 
 
 

[LUTE] Merry christmas etc.

[Lex van Sante]

To all!

Merry Christmas and a very happy new year!

Lex



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

[LUTE] Re: Swedish lute songs?

[Lex van Sante]

Hi Jörg,

I suppose Kenneth Spar would be your number one to ask.

Checkout his site at www.tabulatura.com

Lex


Op 20 nov 2012, om 10:17 heeft Hilbert Jörg het volgende geschreven:

 Does anybody know about nice swedish songs with lute and/or continuo 
 accompaniment? I know Bellman of course, but I am looking for something 
 earlier (1550-1650). 
 
 Thanks, Jörg
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Phalese

[Lex van Sante]

Hi Rainer,
This link doesn't work..

Lex
Op 20 nov 2012, om 22:39 heeft Rainer het volgende geschreven:

 http://memoirevive.besancon.fr/ark:/48565/a011307145821XCHAfJ/1/1
 
 Rainer
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: How to distinguish carbon from nylon.

[Lex van Sante]

Nylon tends to be a bit more opaque than carbon but this really only shows with 
thicker strings.
Best advice is: put it on your lute see what note you get with a certain 
tension.
Compare to other strings of same note and tension and the thinner string will 
be the carbon. 
BTW there seem to be many types of string which are all being traded as carbon.
The KF strings of Savarez are a different kind of string in comparison with for 
instance the PVF strings of Kuerschner which are different from the Seagur 
japanese fishing line which really was the first carbon string that hit the 
market. I remember Toyohiko Satoh importing those into Europe in the eighties. 
Naoki Fugii later sold these strings too.
Anyway all these so called Carbon strings are heavier than Nylon so they are 
thinner for a given note and tension.
Hope this helps.
Op 3 nov 2012, om 13:43 heeft Herbert Ward het volgende geschreven:

 
 Is is possible to distinguish reliably between carbon and
 nylon if the string's packaging is not available?
 
 I've seen a knowledgeable person rub the string, but I don't
 know whether he was listening to the sound, feeling the 
 texture, or judging some other aspect.
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Chitarrone

[Lex van Sante]

I agree and BTW Milan and Kapsberger to name but a few also could be 
categorized as aristocratic amateurs, couldn't they?
Op 18 okt 2012, om 10:03 heeft Martyn Hodgson het volgende geschreven:

 
   Dear Denys,
 
   Thank you for this - I think it well reflects many peoples' views.
   Indeed, it is remarkable that, even after 36 years, much of what Bob
   wrote is still widely agreed upon today.
 
   Martyn
   --- On Wed, 17/10/12, Denys Stephens denyssteph...@sky.com wrote:
 
 From: Denys Stephens denyssteph...@sky.com
 Subject: [LUTE] Re: Chitarrone
 To: 'lute net' lute@cs.dartmouth.edu
 Date: Wednesday, 17 October, 2012, 20:32
 
   Dear Roman,
   I fully respect your freedom of speech, but I find it sad to
   see Robert Spencer referred to in that way. His article was
   written 36 years ago, and represented a significant contribution
   to the subject at the time. It's hardly surprising that
   things have moved on since then, but notwithstanding that, his
   outstanding contribution to the world of lute music is
   remembered with gratitude and respect by many.
   Best wishes,
   Denys
   -Original Message-
   From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
   Of Roman Turovsky
   Sent: 17 October 2012 13:56
   To: R. Mattes
   Cc: Monica Hall; Lutelist
   Subject: [LUTE] Re: Chitarrone
   Thanks for this!
   The bottom line is that the Italians had lutes of less than 6 courses
   in
   guitar tuning (with whatever names),
   the bass variety thereof eventually evolved into chitarrone, in the
   perspicacious opinion of Renato Meucci.
   I agree with Meucci, as his opinion is intelligently conceived,
   well-informed, and doesn't sound like Bob Spencer's
   aristocratic amateurism.
   RT
   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://us.mc817.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
   2. http://us.mc817.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Chitarrone

[Lex van Sante]

Rebec and rebab spring to mind.

Lex
Op 17 okt 2012, om 22:05 heeft Monica Hall het volgende geschreven:

   Such as ?   .
 
 
 
   Monica
 
   - Original Message -
 
   From: [1]WALSH STUART
 
   To: [2]Monica Hall
 
   Cc: [3]Lutelist
 
   Sent: Wednesday, October 17, 2012 8:56 PM
 
   Subject: Re: [LUTE] Re: Chitarrone
 
 Other instruments than lutes have 'lute-shaped' bodies...
 Stuart
 
   On 17 October 2012 20:29, Monica Hall [4]mjlh...@tiscali.co.uk wrote:
 
 Well - what is the difference between a lute and a gittern/mandore.
   When is a lute not a lute? Chitarrone as I understand it is a
 large member of the lute family i.e. it has a lute shaped body.   It
 depends what you mean by separate traditions...
 Monica...getting more confused by the minute.
 
   Diego, unfortunately I cannot read Italian. Are you in agreement
 with
   Meucci?
   Monica, the only things I know about Meucci's article are from
 you. As
   I understand it, Meucci isn't saying that the chitarrone is a
 large
   lute. The lute has its own, separate,  traditions. The chitarrone
 (he
   is saying, I think) is a large (massive!) gittern (or
 gittern/mandore).
   Stuart
   On 17 October 2012 18:34, Diego Cantalupi [1][5]tio...@gmail.com
 wrote:
 If you can read Italian, you can find my dissertation about
 Chitarrone here:
 [2][6]http://www.diegocantalupi.it/tesi.pdf
 The first chapter is about ethimology.
 Diego
 
   To get on or off this list see list information at
 [3][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
 References
   1. mailto:[8]tio...@gmail.com
   2. [9]http://www.diegocantalupi.it/tesi.pdf
   3. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. mailto:s.wa...@ntlworld.com
   2. mailto:mjlh...@tiscali.co.uk
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:mjlh...@tiscali.co.uk
   5. mailto:tio...@gmail.com
   6. http://www.diegocantalupi.it/tesi.pdf
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. mailto:tio...@gmail.com
   9. http://www.diegocantalupi.it/tesi.pdf
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: A question; straps, standing

[Lex van Sante]

I seem to remember that lutes were used in courtly manifestations (processions 
i.e. Entrée de luths) where a large number of lute players were walking and 
playing.
In medieval and renaissance paintings lute players are often shown playing 
while standing up. Then there also are a number of pics where lutes are being 
played by courting men walking side by side with their loved ones.

Cheers! Lex
Op 7 okt 2012, om 09:56 heeft Joshua Horn het volgende geschreven:

 
   Here is a question out of pure curiosity... I've noticed over time that
   some Lute players have a strap, whether it be a guitar like strap or a
   thin nylon rope/string. The question I am wondering is, was the Lute
   ever actually played standing up?
   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: fret gut

[Lex van Sante]

Herbert,

You could try thicker fret gut. With very thin frets it is harder to get a buzz 
free sound.
There has to be an angle of the string over the fret. The fret has to act as a 
stop (or nut).
Also it is good to try to place your fingers next to the fret (to increase the 
angle of the string as far as possible).
To get the best out of your applied finger pressure put your fingers down at as 
right an angle as possible.
You will find that on a well set up lute, applying an efficient r.h. technique, 
buzz free playing is very well possible with a minimum of effort.

Happy luting,

Lex

Op 10 sep 2012, om 17:25 heeft Herbert Ward het volgende geschreven:

 
 Some of the pressure from the LH fingers is
 to prevent buzz.  For example, if the string laid against
 the fret with zero distance, you'd still have to apply
 a considerable amount of pressure to prevent buzz.
 
 Factors are:
 (a) the distance from string to fret,
 (b) the string tension,
 (c) the pressure needed to prevent buzz (as above).
 
 Factors (a) and (b) are involved in getting the string
 to the fret, and (c) comes into play after the string
 is against the fret.
 
 This has frustrated me in the past.  I would lower the
 acticn radically, only to find that
 the reduction in pressure was not as great as
 I'd hoped, because of (c).
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tuner

[Lex van Sante]

If you have an iPhone I would go for Cleartune. Very accurate and it has 25 
temperaments.
Cost is about $ 3,- 

Op 3 sep 2012, om 08:49 heeft David van Ooijen het volgende geschreven:

 On 3 September 2012 05:01, Bruno Correia bruno.l...@gmail.com wrote:
   Has anybody experienced the Turbo tuner ST 122?
 
 I have for for several years now: solidly build, very accurate, easy
 to use, programmable.
 
 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: Tuner

[Lex van Sante]

temperatures
Op 3 sep 2012, om 09:05 heeft Lex van Sante het volgende geschreven:

 If you have an iPhone I would go for Cleartune. Very accurate and it has 25 
 temperaments.
 Cost is about $ 3,- 
 
 Op 3 sep 2012, om 08:49 heeft David van Ooijen het volgende geschreven:
 
 On 3 September 2012 05:01, Bruno Correia bruno.l...@gmail.com wrote:
  Has anybody experienced the Turbo tuner ST 122?
 
 I have for for several years now: solidly build, very accurate, easy
 to use, programmable.
 
 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] arto wikla's site

[Lex van Sante]

   I have been unable to get on Arto's site.

   Wanted to use the string Calculator.

   Message returned was access forbidden.

   What's up Arto?

   Greetz Lex

   --


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

[LUTE] Re: Portqble recorders

[Lex van Sante]

I use an Olympus LS-10 for some time now and I'm very happy with it.
No issues whatsoever. Great sound even from the built in microphones.

Lex
Op 17 jun 2012, om 04:38 heeft t...@heartistrymusic.com het volgende geschreven:

  Be Warned: I have been using Tascam DR100.  Less than 2 years, 
 maybe in action about 10 times.  Treated with kid gloves.
 After charging last week it will not power up.  Good batteries, good 
 charger/ AC adapter.  Nothing.
  So far Tascam's service communication is miserable.  I am in limbo.
 I can say after this, that I probably won't buy another Tascam product.
 Good luck with all the rest, and all the best,
  Tom
 Tom Draughon
 Heartistry Music
 http://www.heartistrymusic.com/artists/tom.html
 714  9th Avenue West
 Ashland, WI  54806
 715-682-9362
 
 I am using the ZOOM H4n , together with an AKG SE 300B.
 Regards
 Gilbert
 
 -Oorspronkelijk bericht- 
 From: David Smith
 Sent: Saturday, June 16, 2012 6:58 PM
 To: 'Roman Turovsky' ; lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Portqble recorders
 
 I have a Blue Snowball that works pretty well with my iPhone/iPad and
 works well with a MAC/PC. Regards David
 
 -Original Message-
 From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
 Behalf Of Roman Turovsky Sent: Saturday, June 16, 2012 9:30 AM To:
 lute@cs.dartmouth.edu Subject: [LUTE] Re: Portqble recorders
 
 For a few days I've been a proud owner of a Tascam stereo mic for
 iPhone. To be tested in the next few! RT
 
 On 6/16/2012 11:22 AM, theoj89...@aol.com wrote:
 I use a Tascam DR-08 and am very happy with it. The little
 microphones
 built in give pretty decent sound reproduction, but I have tried
 several higher quality plug in mics with better results, (Or, if there
 is a sound man at a concert, I have had him plug the unit directly
 into the soundboard through the headphone output using a 1/4 to 1/8
 inch stereo converter). I have a friend with a Sony who loves it as
 well. As with digital encoding, the process of encoding a signal is
 the same, regardless of what unit. WHat matter most is the fidelity of
 the microphone, and so the smaller units (like the Tascam) do best
 with a higher quality mic. -Original Message-  From:
 andy butler akbut...@tiscali.co.uk  To: lute
 lute@cs.dartmouth.edu  Cc: Lute List lute@cs.dartmouth.edu 
 Sent: Sat, Jun 16, 2012 10:20 am  Subject: [LUTE] Re: Portqble
 recorders i've used the Zoom H2 quite a lot.   It depends on
 how much you want to spend, and what you mean by CD quality.   .and
 how portable.   The Zoom certain gets excellent results considering
 that it fits in  the pocket alongside plenty of left over cash.  
 If you're going to be recording your own cd then you'll really benefit
 from studio quality condenser mics, and good preamps.  If you
 already have a laptop it's possible to work out an excellent 
 portable system without frightening expense.  (more info if that's
 the way you want to go).   andy Anthony Hart wrote:  Has
 anyone had any experience of CD quality portable recorders for 
 recording live performances (legally)?   I have seen specs for
 several including ZOOM, Tascam   Grateful for any help 
 To get on or off this list see list information at 
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- 
 
 
 
 
 
 
 
 
 Tom Draughon
 Heartistry Music
 http://www.heartistrymusic.com/artists/tom.html
 714  9th Avenue West
 Ashland, WI  54806
 715-682-9362
 
 

[LUTE] Re: Capiroöla facsimile in color on-line

[Lex van Sante]

Dear Rainer,

I think it is well known around here.
I'll order the TREE edition anyway. (see recent post on this list by TREE 
edition)

Lex


Op 31 mei 2012, om 00:04 heeft Rainer het volgende geschreven:

 Dear lute-netters,
 
 is his well known?
 
 http://imslp.org/wiki/Capirola_Lutebook_%28Capirola,_Vincenzo%29
 
 Rainer adS
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Banchieri, Adriano - Canzon 10 La Feliciana

[Lex van Sante]

Anton,

Once again, Thank You!

Lex
Op 22 mei 2012, om 09:43 heeft Anton Höger het volgende geschreven:

 Hi,
 
 I have uploaded a new lute duet for 2 equal lutes  (Unsisono)
 
   -   Banchieri, Adriano - Canzon 10 La Feliciana  -
 
 
 Enjoy
 
 Anton
 
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] test

[Lex van Sante]

test



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

[LUTE] Re: 4060

[Lex van Sante]

Hi all,

There is a menu item with the name Werkzeugkasten. 
Click it and select the pdf icon.
Then download the top item in the list of three. 
This contains everything in one file.

Happy luting,

Lex
Op 25 apr 2012, om 21:14 heeft Christopher Wilke het volgende geschreven:

Rainer,
 Thanks for bringing it to our attention. Any way to download the
   whole thing?
   Chris
   Christopher Wilke
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Wed, 4/25/12, Rainer rads.bera_g...@t-online.de wrote:
 
 From: Rainer rads.bera_g...@t-online.de
 Subject: [LUTE] 4060
 To: Lute net lute@cs.dartmouth.edu
 Date: Wednesday, April 25, 2012, 3:07 PM
 
   Dear lute netters,
   I have no idea if this is new:
   MS 4060 (750 pages) is on-line.
   See
   [1]http://resolver.staatsbibliothek-berlin.de/SBB78A3
   Rainer adS
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. http://resolver.staatsbibliothek-berlin.de/SBB78A3
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Lute Facsimiles at the Royal Holloway University of London Early Music Online site

[Lex van Sante]

Hi Ed,
Unfortunately some books do not have an all in one file. 
So if you're greedy this may involve some work. 
Maybe someone on this list has done it already and is willing to share. 
Don't know if that is legal  but hey, the human mind is resourceful.

happy clicking!

Lex
 
Op 12 apr 2012, om 05:01 heeft Ed Durbrow het volgende geschreven:

 I looked at 
 Florilegium omnis fere generis
 
 and it looks like every page is a different link. Do you have to download 
 page by page rather than the whole book?
 
 
 
 On Apr 7, 2012, at 8:55 PM, Matteo Turri wrote:
 
  The Royal Holloway University of London Early Music Online site
  [1]http://digirep.rhul.ac.uk/access/home.do
  has a number of facsimiles available to download.
  34 of them are specific for the lute (search for lute ... )
  Enjoy
  Matteo
  --
 
 References
 
  1. http://digirep.rhul.ac.uk/access/home.do
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 --

[LUTE] Re: All about micing...part II

[Lex van Sante]

I agree with Christopher, also as  suggested by Mathias one could 
 (probably should)break the chords.  A close study of the way that 
for instance Esaias Reussner tells us about how to break chords
 gives us an idea and could provide a starting point. 
Lex
  
Op 10 apr 2012, om 13:26 heeft hera caius het volgende geschreven:

 
 
   All instruments very authentic copies.
 
   Gamba and violin on gut, historical bows, baroque flute traversierre,
   14 course theorbo in A on nylgut and copper and organo di legno (wood
   organ)
 
   One example:
 
   [1]http://www.youtube.com/watch?v=JfDoomhnUOUlist=UUFoONkd8wBnm1emuE8y
   bClQindex0feature=plcp
 
   (recording was made in 2010)
 
   (the quality of the recording is not the best)
   --- On Tue, 4/10/12, David Tayler vidan...@sbcglobal.net wrote:
 
 From: David Tayler vidan...@sbcglobal.net
 Subject: [LUTE] Re: All about micing...part II
 To: lute lute@cs.dartmouth.edu
 Date: Tuesday, April 10, 2012, 12:58 AM
 
  If you use all original instruments, you will hear the lute fine.
  However, if you have thin bridges, heavy bows, thick bass bars,
   metal
  strings etc on the bowed strings then they will be easily twice as
  loud. And so all of the soft instruments will disappear.
__
  From: Mathias Roesel [2]mathias.roe...@t-online.de
  To: lute net [3]Lute@cs.dartmouth.edu
  Sent: Mon, April 9, 2012 5:50:11 AM
  Subject: [LUTE] Re: All about micing...part II
   there and the music was generally very interesting but I hear
   your
   theorbo only on the solo piece... (a Kapsberger)...Na...
  There's nothing wrong with an audible theorbo in an ensemble,
   probably,
  but
  the thing is, pluckers cannot hold their tones like singers, viols,
  flutes
  or organs do. So what should be heard are the impulses of each chord
   or
  note
  that you play. Profiling the rhythmic structure of an ensemble piece
   is
  a
  major task of the theorbo, I suppose. And if you're not content with
  that,
  there's another way to become audible. You can break the chords. Not
   in
  the
  way of quick arpeggios, but in regular rhythm. You can try to go in
  consonant intervals alongside the leading part in prominent
   passages.
  To get on or off this list see list information at
  [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. [5]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
 
   --
 
 References
 
   1. 
 http://www.youtube.com/watch?v=JfDoomhnUOUlist=UUFoONkd8wBnm1emuE8ybClQindex0feature=plcp
   2. file://localhost/mc/compose?to=mathias.roe...@t-online.de
   3. file://localhost/mc/compose?to=Lute@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
 

[LUTE] Re: Of Mice Milk

[Lex van Sante]

What are You??

Lex

Op 7 apr 2012, om 13:00 heeft hera caius het volgende geschreven:

 
 What are you, 3 years old?
 
 Than keep it childish
 
 
 --- On Sat, 4/7/12, Lex van Sante lvansa...@gmail.com wrote:
 
 From: Lex van Sante lvansa...@gmail.com
 Subject: [LUTE] Re: Of Mice  Milk
 To: lute mailing list list lute@cs.dartmouth.edu
 Date: Saturday, April 7, 2012, 12:01 AM
 
 Does anyone really care?
 Anyway with all those mice around  perhaps it is safer to use wireless 
 technology as these rodents have been known to cause trouble when hungry.
 However there is a cheaper way of accomplishing great sound. Instead of using 
 mice one could do with nice. The difference is small but significant.
 Nice thread, though.
 
 Lex
 
 Op 6 apr 2012, om 22:39 heeft hera caius het volgende geschreven:
 
 Does anyone remember where this discussion started? [03.gif]
  
--
  
  
  To get on or off this list see list information at
  http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 


--

[LUTE] Re: An anonymous (?) fantasia from Hortus Musarum (1552)

[Lex van Sante]

This music also appears in Silva de Sirenas by Valderrabano of 1547.
He probably is the composer.

Lex
Op 1 apr 2012, om 23:56 heeft Stuart Walsh het volgende geschreven:

 http://www.youtube.com/watch?v=X0l5uYBgIMM
 
 
 
 Stuart
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vallet score and recording

[Lex van Sante]

To me it sounds like a classical guitar with a capo on III
Lex
Op 1 apr 2012, om 08:35 heeft hera caius het volgende geschreven:

 
   What kind of instrument are you playing on this recording?
 
   It sounds single strung and plucked by nails.
 
   Thanks,
 
   Caius
   --- On Sat, 3/31/12, Tobiah t...@tobiah.org wrote:
 
 From: Tobiah t...@tobiah.org
 Subject: [LUTE] Vallet score and recording
 To: 'Lute Net' lute@cs.dartmouth.edu
 Date: Saturday, March 31, 2012, 11:28 PM
 
   There is a .pdf that I made with Finale,
   and a recording of the piece I made after
   finishing it.
   [1]http://tobiah.org/vallet
   Tobiah
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. http://tobiah.org/vallet
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Right hand plucking position - was Re: Quality vs Quantity

[Lex van Sante]

Probably after he stopped playing Recuerdos de la Alhambra:-)
Clear tremolo's without nails are almost impossible (well, for me anyway)
Lex

Op 27 mrt 2012, om 11:05 heeft Valery SAUVAGE het volgende geschreven:

   Tarrega cut his nail near the end of his life. (around 1902)... before
   he played with.
   V.
 
 Message du 27/03/12 10:58
 De : Martin Shepherd
 A : Lute List
 Copie `a :
 Objet : [LUTE] Re: Right hand plucking position - was Re: Quality
 vs Quantity
 
 Just a minor point, but I thought Tarrega played without nails?
 Can
 someone give us the details?
 
 Martin
 
 On 27/03/2012 09:22, William Samson wrote:
 Dear Martyn.
 
 You and I are both old enough (OK - I'm older) to remember when
 the
 lute sound expected by audiences was the Julian Bream sound.
 Back in
 the 60s and even into the early 70s few lutenists were willing
 to
 concede that Tarrega technique, with nails, should be abandoned
 in
 favour of flesh (never mind pinky or playing position). It took
 somebody with the stature (and charisma) of Michael Schaeffer to
 convince the lute playing world that flesh did work, and
 produced a
 wonderful sound (- that would have been around 1975). Suddenly
 everybody could hear that flesh was the way to go! Even so, it
 took
 several years for some of the pros to concede this and some
 never did.
 
 So what was the problem? Why did the 'muffled' sound of flesh
 overnight turn into the proper lute sound, and the nail sound
 become
 'harsh' and 'vulgar' when it wasn't before?
 
 I don't know the answer, but the story of the lutenist's right
 hand
 isn't over yet - Not by a long way.
 
 Bill
 From: Martyn Hodgson
 To: David Tayler; lute
 ; William Samson
 Sent: Tuesday, 27 March 2012, 8:49
 Subject: [LUTE] Re: Right hand plucking position - was Re:
 Quality vs
 Quantity
 Dear Bill,
 Some things are, indeed, less certain than others (which is why
 it's
 prudent to speak in terms of significant probabilities) so that,
 for
 example, octaves on basses are less certain than other things.
 Thoough
 in the case of Dowland I don't understand the logic of linking
 his
 instructions for stringing to works by other lutenist
 composers
 But the discussion was around the position of the right hand. In
 this
 case the historical evidence is very clear (close to the
 bridge).
 Naturally, there are those who have developed a modern technique
 which
 does not easily allow this and I suppose their concious (or
 sub-concious) prejudices and wishful thinking make them seek
 explanations along the lines of: 'I like it this way - and the
 Old
 Ones
 would have too if only they had my sense and
 sensibility'...
 But putting such thoughts to one side, the real issue is how
 else
 are
 we to attempt to recapture as best as we can what the early
 composers
 had in mind and what their auditors expected to hear; other than
 by
 looking at the historical evidence rather than to our own
 prejudices.
 regards
 Martyn
 --- On Tue, 27/3/12, William Samson[1]willsam...@yahoo.co.uk
 wrote:
 From: William Samson[2]willsam...@yahoo.co.uk
 Subject: [LUTE] Re: Right hand plucking position - was Re:
 Quality
 vs Quantity
 To: David Tayler[3]vidan...@sbcglobal.net, lute
 [4]lute@cs.dartmouth.edu
 Date: Tuesday, 27 March, 2012, 8:23
 Good points all, David (as far as I understand them :o\ )
 One great example is that of renaissance ornamentation. When we
 compare the 'Varietie' versions of Dowland with MS versions of
 the
 same
 thing (for example the King of Denmark's Galliard, or the
 Fantasie)
 we
 find that MS versions are dripping with ornament indications. I
 HAVE
 heard people attempting these, but usually as a demonstration
 between
 consenting lutenists - not something to be incorporated in a
 public
 performance or on a CD.
 Diana Poulton was pointing this out (as well as pinky down)
 long,
 long,
 long ago, but none of the pros (and few of the ams) at that time
 paid a
 blind bit of heed. Since then, pinky down seems to have become
 the
 norm, but as you say, renaissance ornamentation is tucked away
 out
 of
 sight.
 A serious point is that exploration of authentic playing
 practice
 very
 often comes from the amateur side of things, where they don't
 HAVE
 to
 make the lute sound that audiences have come to expect, to earn
 a
 living.
 Let's not give up on these things, fellow amateurs. The
 professionals
 will eventually follow us, though it will be a L-O-N-G haul . .
 .
 Bill
 From: David Tayler[1][5]vidan...@sbcglobal.net
 To: lute[2][6]lute@cs.dartmouth.edu
 Sent: Tuesday, 27 March 2012, 6:58
 Subject: [LUTE] Re: Right hand plucking position - was Re:
 Quality
 vs
 Quantity
 This is a weight of evidence vs minority report scenario
 (sorry,
 I'm
 from the Berkeley area and we value our Philip Dick)
 So for example in the lute world you can say do you want octave
 stringing on Dowland?
 And the 

[LUTE] Re: Humidity Concerns

[Lex van Sante]

Hi Adam,
Are you using demineralized  water? 
It is possible that those devices would need just that in order to keep 
working. Check the manual.
Extreme dryness is noticeable in lute bellies. 
The lighter summer wood (between the grain which is the winter wood) shrinks 
more so the winter wood sticks out of the surface.
If that happens immediate action is called for.
The hygrometer should be checked for accuracy every now and then.
 If it is a hair hygrometer the dial can be adjusted to read between 95 and 
100%.
Wrap it in wet, but not dripping towel for an hour or so and it should give the 
aforementioned reading. 
If not adjust the screw of the dial in the back to read 98 or so.
Normal humidity should be between say 50 and 70% relative.

Cheers! 
Lex

Op 26 feb 2012, om 16:30 heeft Adam Olsen het volgende geschreven:

 Along the line of my recently worried questions, I have one about humidity.
 
 I live in SLC, and in my house the RH is 33%.  The lute I have was
 built in a workshop where the relative humidity was 50%.
 
 In my lute case, I have an Oasis humidifier in the pegbox area of the
 case, and inside the bowl of the lute itself, I have a violin dampit.
 (The luthier made it so you can remove the strap peg on the bottom,
 and insert a dampit).
 
 I also have a hydrometer in there to check, and the first day it read
 55% RH.  It's been slowly dropping until this morning, where it reads
 38%.  I wet the dampit every day, and I make sure the Oasis is full.
 
 Is this ok?  Is the hydrometer (it's a sensitive hydrometer) even able
 to provide an accurate reading in this setting?
 
 I don't see any reasons for concern on the soundboard or anything, but
 I just want to make sure.
 
 Any advice would be great!
 
 Adam
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Saturday quotes

[Lex van Sante]

Oh dear, I suddenly realized, maybe in ye oulde times they were painted into 
the paintings. 
Perhaps fraude is a thing of the past too!

Lex
Op 6 feb 2012, om 09:40 heeft William Samson het volgende geschreven:

   Makes me wonder if all these harps, vielles, symphonies, gitterns,
   citoles, lutes, nakers and sundrie wind instruments weren't
   photoshopped into the paintings in recent times by early instrument
   manufacturers?
 
   Bill
 
   [Is this how conspiracy theories start?]
   From: John Lenti johnle...@hotmail.com
   To: lute@cs.dartmouth.edu Net lute@cs.dartmouth.edu
   Sent: Monday, 6 February 2012, 8:08
   Subject: [LUTE] Re: Saturday quotes
 The way it's described here, it sounds like a vast conspiracy to
 discredit instrumental medieval music. If so, let's be thankful it
   was
 one perpetrated by tweedy music critics for a very serious magazine
 with a limited readership, which I suppose is why Sequentia, the
   Boston
 Camerata, Ensemble PAN, Ensemble Alcatraz, the Dufay Collective,
 Ensemble Unicorn and many, many others have since done wonderful, if
 sometimes a little weird, work and instrumental students at early
   music
 programs still spend at least a semester hawanging on musty old
 hurdy-gurdies, vielles and gothic harps, struggling through Ars
 Subtilior music while their singer friends mispronounce old French or
 fail to get the rhythms of Landini ballate. To think it might all
   have
 been brought to nought, but thank goodness we mostly rely on critics
 for nice quotes to put in our press packets, grouse a little bit when
 they savage us, and otherwise view most of them as grumpy eunuchs.
 Regarding the ethics of music criticism, I'd be interested to see if
   we
 could have a bit more conflict of interest and get more serious
 musicians, hopefully better writers than I, to write criticism, and
   if
 it would make the field more vibrant. Nobody faults Schumann or
 Berlioz, two of the most readable critics of the nineteenth century,
 for their conflicts of interest, do they? Schumann had it right about
 Chopin and Brahms, huh?
 Date: Sun, 5 Feb 2012 12:35:21 -0800
 To: [1]lute@cs.dartmouth.edu
 From: [2]howardpos...@ca.rr.com
 Subject: [LUTE] Re: Saturday quotes
 
 
 On Feb 5, 2012, at 8:29 AM, Ron Andrico wrote:
 
 While I am also a great admirer of Page's work, I am a little
 incensed
 that a reviewer admits to deliberately panning commercial
 recordings
 with the intent to advance one point of view. Ethics?
 
 Would you be incensed by a reviewer who panned Herbert von
   Karajan's
 recordings of Bach because the critic's one point of view was that
 Bach should be played with attention to historical performance
 practice? Or a reviewer who admitted that in the 1970's he had
 deliberately conveyed the message to buy the period-instrument
 recordings of Bach's cantatas by Harnoncourt and Leonhardt and leave
 the rest (modern-instrument performances by Richter and Rilling and
 whoever)?
 
 Or, closer to home on this list, is it wrong for a critic to opine
 that lute recordings on instruments built like modern guitars are not
 the ones to buy?
 
 Critics are paid to convey information and make judgments. If a
 critic writing for a publication about early music has reached a
 conclusion that voices-only performance is correct, and that any
 instruments make it as wrong as Karajan's Brandenburgs, it isn't
 unethical for that viewpoint to inform his writing--indeed, how could
 he possibly put it aside and pretend he didn't think the performances
 with instruments are historically wrong (just as you might conclude,
   if
 the instruments were saxophones)? You might find his viewpoint wrong
   or
 overly limited, and maybe you're right. But it isn't unethical for a
 critic to approach his work with his own ideas.
 
 The potential ethical problems stem from the small-world nature of
 the early music community, where the prominent performers and
   scholars
 all know each other, and cronyism, or the reverse, is always a
   problem.
 When I was review editor for the LSA quarterly, I told some folks
   (all
 of them on this list, I think) that there were ethical problems
   because
 they were performers writing about other performers or publishers
 writing about other publishers (competition in common parlance),
 making for inherent conflict of interest. I don't think anyone had
   ever
 brought it up before, and while the (soon-to-be former) reviewers
 themselves seemed to understand, or at least accepted, my insistence
   on
 avoiding systemic conflict of interest, the responses I got from the
 LSA officialdom was much the same response I would have gotten if I'd
 said only Martians could write reviews for the Q. And maybe they were
 right: perhaps if the community is 

[LUTE] Re: High humidity and buzzing.

[Lex van Sante]

I have been making and repairing lutes for about 35 years now and I've yet to 
see a brace becoming undone in the middle. I't always the ends that become 
undone. So, in the situation you describe the gaps would close instead of open. 
Another thing is that a very loose brace may not rattle at all. If the 
vibrations are not strong enough to close the gap there will not be a buzz.
Lex
Op 31 jan 2012, om 17:55 heeft Mark Warren het volgende geschreven:

 More often during low humidity, in my experience. Wood tends to shrink as it 
 dehydrates, usually causing the gap between the sound board and the brace to 
 become more pronounced. In addition, sound boards lose some of their tensile 
 strength when they dry out; string tension then pulls the top upwards and 
 most often away from the loose brace.
 
 There could be exceptions, of course; any buzz that seems to be coming from 
 the bracing should be investigated by a qualified technician, regardless of 
 the season.
 
 regards,
 Mark
 
 On 1/31/2012 11:33 AM, Herbert Ward wrote:
 Do loose braces buzz more during
 periods of high humidity or low humidity?
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 

[LUTE] Re: Alcohol as glue breaker.

[Lex van Sante]

I for one see myself as a amateur lutemaker but I use animal glue throughout. 

Cheers!

Lex
Op 1 feb 2012, om 08:25 heeft Taco Walstra het volgende geschreven:

 On 01/31/2012 07:09 PM, Bruno Fournier wrote:
 
 My wife is a luthier and always uses wet heat. Alcohol will damage the 
 varnish and repairing the varnish is a lot of extra work, especially with 
 violins and celli. (Although after the opening and closing of the instruments 
 a varnish repair is also necessary with the wet heat tool, but much less). 
 Using alcolhol is the amateur way of working.
 In the same line: A lutemaker in the netherlands used/uses woodglue to glue 
 damaged lutebridges. Although he thinks himself a professional he's clearly 
 not.
 taco
 
Have always used wet heat.
 
A
 
wouldn't regluing after be a problem? as there might be remnants of the
alcohol preventing the glue from binding properly?
 
A
 
Bruno
 
A
 
A
 
On Tue, Jan 31, 2012 at 12:06 PM, William Samson
[1]willsam...@yahoo.co.uk  wrote:
 
  A  I use alcohol - I learned the trick on a course I did in piano
  repair.
  A  Very effective! A The downside is that it could hurt the finish -
  A  especially if it's a French polish. A Ordinary methylated spirit
  works
  A  just fine.
  A  Bill
  A  From: Herbert Ward[2]wa...@physics.utexas.edu
  A  To: [3]lute@cs.dartmouth.edu
  A  Sent: Tuesday, 31 January 2012, 16:31
  A  Subject: [LUTE] Alcohol as glue breaker.
 
A  I asked a luthier how he broke the glue joint in doing
A  a repair. A I expected to hear a description of some
A  variation of wet heat.
A  To my surprise, he said that he used anhydrous ethyl
A  alcohol (eg, 190 proof Everclear liquor).
A  He said that the alcohol drawa all the water out of the
A  glue, and that perfectly dry glue has no strength and
A  comes apart easily.
A  Does anyone else use alcohol? A Why do some luthiers use
A  alcohol and others use wet heat?
A  To get on or off this list see list information at
 
  A  [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  A  --
  References
  A  1. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
--
 
A
 
Bruno Cognyl-Fournier
 
A
 
[6]www.estavel.org
 
A
 
--
 
 References
 
1. mailto:willsam...@yahoo.co.uk
2. mailto:wa...@physics.utexas.edu
3. mailto:lute@cs.dartmouth.edu
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
6. http://www.estavel.org/
 
 
 
 -- 
 
 

[LUTE] Re: Cabezon

[Lex van Sante]

It is keyboard tablature. 
The complete book with instructions (in easy to understand spanish) for using 
this tab can be downloaded. 
http://bdh.bne.es/bnesearch/Search.do;jsessionid=44A9FE1E1D1C3ABF39452F937DD083CF

Cheers! Lex

Op 22 jan 2012, om 13:08 heeft dc het volgende geschreven:

 Is there any consensus as to the instrument for which Cabezon intended his 
 diferencias, and in particular his Differencias sobre el canto de la dama 
 le demanda?
 
 http://dl.dropbox.com/u/15830163/Cabezon.pdf
 
 These variations are on Arbeau's Belle qui tiens ma vie. Does anyone have 
 any information on the song mentioned in Cabezon's title (La dama le 
 demanda).
 
 Thanks,
 
 Dennis
 
 
 
 
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Dance in time

[Lex van Sante]

Hi Mathias,

The piece has a title. It is a setting of the Widow by Simon Ives.
It is to be found on the CD Old Gautiers Nightingall

Cheers! 

Lex


Op 9 jan 2012, om 20:24 heeft Mathias Rösel het volgende geschreven:

 I'm pretty certain it is a jigge or gigue.
 Look in Dufault or Mercure for similar pieces.
 
 Not convinced. I've run though the CNRS editions (Dufaut, 2nd ed., and
 Mercure; btw,there are not more than three gigues by Mercure at all). None
 of all these gigues in triple time shows the characteristic rhythm of the
 piece at stake, i.e. crotchet - minim. 
 On the other hand, this piece lacks the characteristic rhythm of most of
 Dufaut's and Mercure's gigues in triple time, i.e. dotted crotchet - quaver
 - crotchet. No, I don't think it's a gigue.
 
 What is striking, is that this pieces has sequenced motives, i.e. phrases
 that are repeated on different pitches, in all of its three sections. And
 the melody is nowhere broken. I'm suspicious it could be an English song
 among all of the French and Scottish music in that book. But, alas, I'm not
 familiar with English tunes of the 1630ies. - Anyone?
 
 Mathias
 
 
 Please find the related files attached. Curious, what you think about
 it!
 
 Mathias
 
 -Ursprüngliche Nachricht-
 Von: Lex van Sante [mailto:lvansa...@gmail.com]
 Gesendet: Montag, 9. Januar 2012 17:54
 An: Mathias Rösel
 Betreff: Re: [LUTE] Dance in time
 
 Hi Mathias,
 
 Where can I find Panmure 5 so I can get an idea of the music you are
 talking
 about?
 I suppose it is for a 10 course lute tunes in one of the transitional
 tunings.
 Do you have a copy or a link?
 
 Cheers!
 
 Lex
 Op 8 jan 2012, om 14:27 heeft Mathias Rösel het volgende geschreven:
 
 Dear everyone,
 
 
 There is a dance in triple time in Panmure 5, fol. 17v-18, that
 probably is neither a courante nor a sarabande, lacking their
 chracteristic rhythms. It has hemiolas in cadences, but also other
 characteristic rhythms, though, like crotchet - minim at some ends
 of  phrases, or crotchet - dotted crotchet - two semiquavers / one
 quaver  (marking the ends of hemiolas).
 
 
 Some say it's a country dance. Yet I wonder if English country
 dances  (and masques, for that matter) come in even time?
 
 
 Mathias
 
 --
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 Panmure-5_Country-dance.pdfPanmure-5_Country-dance.mid
 
 
 
 
 
 

[LUTE] Re: Dance in time

[Lex van Sante]

Hi Mathias,

Where can I find Panmure 5 so I can get an idea of the music you are talking 
about?
I suppose it is for a 10 course lute tunes in one of the transitional tunings.
Do you have a copy or a link?

Cheers!

Lex

Op 8 jan 2012, om 14:27 heeft Mathias Rösel het volgende geschreven:

   Dear everyone,
 
 
   There is a dance in triple time in Panmure 5, fol. 17v-18, that
   probably is neither a courante nor a sarabande, lacking their
   chracteristic rhythms. It has hemiolas in cadences, but also other
   characteristic rhythms, though, like crotchet - minim at some ends of
   phrases, or crotchet - dotted crotchet - two semiquavers / one quaver
   (marking the ends of hemiolas).
 
 
   Some say it's a country dance. Yet I wonder if English country dances
   (and masques, for that matter) come in even time?
 
 
   Mathias
 
   --
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Dance in time

[Lex van Sante]

Hi Mathias,

I'm pretty certain it is a jigge or gigue.
Look in Dufault or Mercure for similar pieces.
Do you have more pieces from Panmure 5?
If so... I'm interested.I have not found it on the net.

Cheers,

Lex
Op 9 jan 2012, om 18:22 heeft Mathias Rösel het volgende geschreven:

 Hi Lex,
 
 Please find the related files attached. Curious, what you think about it!
 
 Mathias
 
 -Ursprüngliche Nachricht-
 Von: Lex van Sante [mailto:lvansa...@gmail.com]
 Gesendet: Montag, 9. Januar 2012 17:54
 An: Mathias Rösel
 Betreff: Re: [LUTE] Dance in time
 
 Hi Mathias,
 
 Where can I find Panmure 5 so I can get an idea of the music you are
 talking
 about?
 I suppose it is for a 10 course lute tunes in one of the transitional
 tunings.
 Do you have a copy or a link?
 
 Cheers!
 
 Lex
 Op 8 jan 2012, om 14:27 heeft Mathias Rösel het volgende geschreven:
 
  Dear everyone,
 
 
  There is a dance in triple time in Panmure 5, fol. 17v-18, that
  probably is neither a courante nor a sarabande, lacking their
  chracteristic rhythms. It has hemiolas in cadences, but also other
  characteristic rhythms, though, like crotchet - minim at some ends of
  phrases, or crotchet - dotted crotchet - two semiquavers / one quaver
  (marking the ends of hemiolas).
 
 
  Some say it's a country dance. Yet I wonder if English country dances
  (and masques, for that matter) come in even time?
 
 
  Mathias
 
  --
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 Panmure-5_Country-dance.pdfPanmure-5_Country-dance.mid

[LUTE] Happy new Year!

[Lex van Sante]

To all ye luters, Happy new Year!

Lex



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

[LUTE] wishmail

[Lex van Sante]

Hi Luters,

To all of you, Merry Christmas!

Lex



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

[LUTE] Re: guitar to lute conversion: string advice

[Lex van Sante]

   Hello David,

   We've just tried the following strings with good results:

   e' PVF 4046

   bb PVF 5049 x2

   gg PVF 5059 x2

   dd' VN 5088/PVF 5039

   Aa
   Op 15 december 2011 14:59 schreef David van Ooijen
   [1]davidvanooi...@gmail.com het volgende:

 Missing the point here. She wants a lute, but cannot afford one yet.
 She's given an old guitar, a handy friend did the conversion, so for
 the moment she can play lute technique, explore a new instrument and
 repertoire next to her classical guitar. Good for her. I can
 calculate
 a set of strings, no problem, but am curious for experiences of
 others
 who did the same: a lower tension than normal double set of guitar
 strings, we would like to keep the bridge on the instrument after
 all,
 but how much lower? Simply halve the tension to keep more or less
 the
 same total tension on the brdige? How about rattling strings in this
 case, and will half tension still sound on a normal guitar?
 Experiences appreciated.
 David
 On 15 December 2011 14:54, Rob MacKillop [2]robmackil...@gmail.com
 wrote:
  Just get a regular 12-string guitar. You will have a modern
 orpharion,
  complete with octave basses. Sounds beautiful playing lute music
 on it...
 
  Rob
 
 
  On 15 December 2011 13:51, Bruno Fournier [3]br...@estavel.org
 wrote:
 
Frankly I don't see the point of the exercise.A  Simply to get
 double
strings and learn lute technique?A
 
A
 
Bruno
 
On Thu, Dec 15, 2011 at 6:33 AM, David van Ooijen
[1][4]davidvanooi...@gmail.com wrote:
 
  Thank you for your answer, Eugene, but what my friend has in
 mind is
  a
  6-course lute setup on a guitar with 11-pegs:
  first single, 5 double strings.
  David
 
On 15 December 2011 08:52, Eugene Kurenko
 [2][5]eugene.kure...@gmail.com
wrote:
 A  Hi David!

 A  Well I had similar experience couple years ago.

 A  Fishing line 0,6 mm on first string, then strings 1-5 from
 guitar
set
 A  so we have 6 courses. And then I had to use again 5th
 guitar
string on
 A  F and then four 6th guitar strings on other basses. So we
 have 11
 A  single courses. It works well on 650mm guitar exerpt the
 lowest
notes,
 A  they'll be quite dull.

 A  Hope this can help to your friend.

 A  Good luck!
 A  2011/12/15 David van Ooijen
 [1][3][6]davidvanooi...@gmail.com

 A  A  A friend of mine managed to put 11 tuning pegs in the
 head of
her
 A  A  classical guitar. Now she wants advide on stringing it
 like a
 A  A  Renaissance lute. Before I ship her a set of
what-I-think-might-work
 A  A  strings, is there anybody out there who did the same
 thing and
has
 A  A  some experiences to share?
 A  A  David
 A  A  --
 A  A  ***
 A  A  David van Ooijen
 A  A  [2][4][7]davidvanooi...@gmail.com
 A  A  [3][5][8]www.davidvanooijen.nl
 A  A  ***
 A  A  To get on or off this list see list information at
 A  A
 [4][6][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

 A  --

 References

 A  1. mailto:[7][10]davidvanooi...@gmail.com
 A  2. mailto:[8][11]davidvanooi...@gmail.com
 A  3. [9][12]http://www.davidvanooijen.nl/
 A  4.
 [10][13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--
***
David van Ooijen
 
  [11][14]davidvanooi...@gmail.com
  [12][15]www.davidvanooijen.nl
  ***
 
--
 
A
 
Bruno Cognyl-Fournier
 
A
 
[13][16]www.estavel.org
 
A
 
--
 
  References
 
1. mailto:[17]davidvanooi...@gmail.com
2. mailto:[18]eugene.kure...@gmail.com
3. mailto:[19]davidvanooi...@gmail.com
4. mailto:[20]davidvanooi...@gmail.com
5. [21]http://www.davidvanooijen.nl/
6. [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:[23]davidvanooi...@gmail.com
8. mailto:[24]davidvanooi...@gmail.com
9. [25]http://www.davidvanooijen.nl/
   10. [26]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   11. mailto:[27]davidvanooi...@gmail.com
   12. [28]http://www.davidvanooijen.nl/
   13. [29]http://www.estavel.org/
 
 
 --
 ***
 David van Ooijen
 [30]davidvanooi...@gmail.com
 

[LUTE] Re: guitar to lute conversion: string advice

[Lex van Sante]

   Hi David,

   I pressed a wrong key it seems,

   Anyway here is the rest.

   Aa VN5120/PVF5049

   Ee VN 5155/PVF5066

   All strings by Kuerschner. It should be fairly easy to find the
   equivalent strings from other brands.

   Hope this helps,

   Cheers,

   Lex
   Op 15 december 2011 14:59 schreef David van Ooijen
   [1]davidvanooi...@gmail.com het volgende:

 Missing the point here. She wants a lute, but cannot afford one yet.
 She's given an old guitar, a handy friend did the conversion, so for
 the moment she can play lute technique, explore a new instrument and
 repertoire next to her classical guitar. Good for her. I can
 calculate
 a set of strings, no problem, but am curious for experiences of
 others
 who did the same: a lower tension than normal double set of guitar
 strings, we would like to keep the bridge on the instrument after
 all,
 but how much lower? Simply halve the tension to keep more or less
 the
 same total tension on the brdige? How about rattling strings in this
 case, and will half tension still sound on a normal guitar?
 Experiences appreciated.
 David
 On 15 December 2011 14:54, Rob MacKillop [2]robmackil...@gmail.com
 wrote:
  Just get a regular 12-string guitar. You will have a modern
 orpharion,
  complete with octave basses. Sounds beautiful playing lute music
 on it...
 
  Rob
 
 
  On 15 December 2011 13:51, Bruno Fournier [3]br...@estavel.org
 wrote:
 
Frankly I don't see the point of the exercise.A  Simply to get
 double
strings and learn lute technique?A
 
A
 
Bruno
 
On Thu, Dec 15, 2011 at 6:33 AM, David van Ooijen
[1][4]davidvanooi...@gmail.com wrote:
 
  Thank you for your answer, Eugene, but what my friend has in
 mind is
  a
  6-course lute setup on a guitar with 11-pegs:
  first single, 5 double strings.
  David
 
On 15 December 2011 08:52, Eugene Kurenko
 [2][5]eugene.kure...@gmail.com
wrote:
 A  Hi David!

 A  Well I had similar experience couple years ago.

 A  Fishing line 0,6 mm on first string, then strings 1-5 from
 guitar
set
 A  so we have 6 courses. And then I had to use again 5th
 guitar
string on
 A  F and then four 6th guitar strings on other basses. So we
 have 11
 A  single courses. It works well on 650mm guitar exerpt the
 lowest
notes,
 A  they'll be quite dull.

 A  Hope this can help to your friend.

 A  Good luck!
 A  2011/12/15 David van Ooijen
 [1][3][6]davidvanooi...@gmail.com

 A  A  A friend of mine managed to put 11 tuning pegs in the
 head of
her
 A  A  classical guitar. Now she wants advide on stringing it
 like a
 A  A  Renaissance lute. Before I ship her a set of
what-I-think-might-work
 A  A  strings, is there anybody out there who did the same
 thing and
has
 A  A  some experiences to share?
 A  A  David
 A  A  --
 A  A  ***
 A  A  David van Ooijen
 A  A  [2][4][7]davidvanooi...@gmail.com
 A  A  [3][5][8]www.davidvanooijen.nl
 A  A  ***
 A  A  To get on or off this list see list information at
 A  A
 [4][6][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

 A  --

 References

 A  1. mailto:[7][10]davidvanooi...@gmail.com
 A  2. mailto:[8][11]davidvanooi...@gmail.com
 A  3. [9][12]http://www.davidvanooijen.nl/
 A  4.
 [10][13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--
***
David van Ooijen
 
  [11][14]davidvanooi...@gmail.com
  [12][15]www.davidvanooijen.nl
  ***
 
--
 
A
 
Bruno Cognyl-Fournier
 
A
 
[13][16]www.estavel.org
 
A
 
--
 
  References
 
1. mailto:[17]davidvanooi...@gmail.com
2. mailto:[18]eugene.kure...@gmail.com
3. mailto:[19]davidvanooi...@gmail.com
4. mailto:[20]davidvanooi...@gmail.com
5. [21]http://www.davidvanooijen.nl/
6. [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:[23]davidvanooi...@gmail.com
8. mailto:[24]davidvanooi...@gmail.com
9. [25]http://www.davidvanooijen.nl/
   10. [26]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   11. mailto:[27]davidvanooi...@gmail.com
   12. [28]http://www.davidvanooijen.nl/
   13. [29]http://www.estavel.org/
 
 
 --

[LUTE] Re: accords nouveaux

[Lex van Sante]

Hi all,
@ Andreas and Bernd 
Thanx for the link
@ Martin 
I will ;-)

Cheers, Lex
Op 30 nov 2011, om 12:28 heeft Martin Shepherd het volgende geschreven:

 Hi Lex,
 
 Sorry I can't help with this, but please share any success you have with the 
 list - I'm another one looking for these sources!
 
 Thanks,
 
 Martin
 
 On 30/11/2011 09:04, Lex van Sante wrote:
 Hello all,
 
 I've recently fallen in love (again) with the repertoire for lute tuned in 
 transitional tunings.
 I already have all the CNRS books and Board and Pickering but manuscripts  
 like panmure#5, panmure#8, Bâle 53, Manuscript C.N.R.S, Ballard 1631 and 
 1638 for instance are high on my wishlist.
 Anybody have any idea where to look on the net?
 
 Many thanx in advance,
 
 Cheers,Lex
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] accords nouveaux

[Lex van Sante]

Hello all,

I've recently fallen in love (again) with the repertoire for lute tuned in 
transitional tunings. 
I already have all the CNRS books and Board and Pickering but manuscripts  like 
panmure#5, panmure#8, Bâle 53, Manuscript C.N.R.S, Ballard 1631 and 1638 for 
instance are high on my wishlist. 
Anybody have any idea where to look on the net?

Many thanx in advance,

Cheers,Lex



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

[LUTE] Re: Buzzing [was Gut strings]

[Lex van Sante]

Begin doorgestuurd bericht:

 Van: Lex van Sante lvansa...@gmail.com
 Datum: 21 november 2011 11:39:14 GMT+01:00
 Aan: Monica Hall mjlh...@tiscali.co.uk
 Onderwerp: Antw.: [LUTE] Re: Buzzing [was Gut strings]
 
 Hi Monica,
 I wonder  It is focused around the high octave string on the fourth course 
 and the same note stopped at the 3rd fret on the second course.
 How on earth do you produce the same note on the third fret on the second 
 course. You mean fret 15 don't you?
 Temperature or humidity related buzzing could be caused by a loose brace. 
 Changes in humidity can cause the soundboard to deform slightly causing a 
 brace which has become partially detached from it to rattle. But check all 
 possible exterior causes first. Otherwise one might find nothing wrong after 
 opening an onstrument. Anyway if everything is all right at the moment now is 
 the time to make an appointment for july next year with your luthier of 
 choice. In the mean time, Happy luting! Lex
 
 
 Op 20 nov 2011, om 16:07 heeft Monica Hall het volgende geschreven:
 
 
 
  Hello Daniel
 
 
 
  Our musical correspondences on these lists have not crossed paths
  before (I am Baroque Guitar phobic- the stringing of 4th  5th courses
  gives me cold chills. I prefer the simplicity of a 13 course Baroque
  lute; and I tell no one that I string my 6th course in unisons- direct
  violation of Canon Law.)
 
 
 
  You are not alone!
 
   But right now it is fine so if I take it to the luthier he might
  wonder what I am banging on about.
  Sounds like a typical car problem- disappears in the presence of the
  mechanic, so  then you have to leave it overnight so he can try to
  start it up in the morning.
 
  Yes - I have a similar problem with my car.  One of the warning lights
  keeps coming on.   The garage has done diagnostic checks and say
  nothing wrong but the light still comes on at times.
 
  You'll have to wait for that interesting combo of Santa Ana wind and
  monsoon season (Aren't you in England?
 
  Yes - I live in inner London which has its own microclimate.   In the
  late summer we can have a heat wave and then the temperature can drop
  20 degrees over night.
 
  Hope this helps, at least with the broader perspective. We are not
  alone.
 
 
 
 
 
  Yes - that's very helpful and I am grateful for all the advice from
  other people too.   I plucked up my couraged and E-mailed a luthier who
  did some repairs for me a few years ago.   I'll see what if anything he
  suggests.
 
 
 
  Best wishes
 
 
 
  Monica
 
[Eugene C. Braig IV] Do be mindful that all manner of things can
cause
 
buzzing, from strings buzzing along lumpy frets to loose glue joints
along
 
structural seams to damaged/loose braces etc. ad infinitum.  Do get
it
 
checked out, but stay open-minded regarding possible causes.
 
Best,
 
Eugene
 
  Thank you for all the advice.   It is very helpful.  The problem is -
  and the reason why I so far haven't done anything about it - is because
  it is definitely seasonal.   Fine for 10 months of the year and
  gradually getting worse through July and August when we often have hot
  weather followed by heavy rain. And then suddenly perfectly OK again.
It is also pitch related.   It is focused around the high octave
  string on the fourth course and the same note stopped at the 3rd fret
  on the second course.   But right now it is fine so if I take it to the
  luthier he might wonder what I am banging on about.
  I don't think it is strings or frets.   Any other ideas will very
  welcome.
  Monica
 
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: Buzzing [was Gut strings]

[Lex van Sante]

Hi Monica,
Mea culpa!
I obviously misread  what you wrote. 
Happens to me quite often these days:(
Lex
 Oh, and not at all!

Op 21 nov 2011, om 15:01 heeft Monica Hall het volgende geschreven:

 I wonder  It is focused around the high octave string on the fourth course 
 and the same note stopped at the 3rd fret on the second course.
 How on earth do you produce the same note on the third fret on the second 
 course. You mean fret 15 don't you?
 
 No!   Obviously you know nothing about the baroque guitar!   The fourth 
 course has two strings on it tuned an octave apart i.e. d on the middle line 
 of the bass clef and the d below the lowest line of  treble = d  d'.   The 
 second course is b below middle c.   When stopped at the 3rd fret it produces 
 the note d' = the same as the high string on the fourth course...
 
 Thanks for the rest of your advice which I shall follow.
 
 Monica
 
 
 Temperature or humidity related buzzing could be caused by a loose brace. 
 Changes in humidity can cause the soundboard to deform slightly causing a 
 brace which has become partially detached from it to rattle. But check all 
 possible exterior causes first. Otherwise one might find nothing wrong after 
 opening an onstrument. Anyway if everything is all right at the moment now is 
 the time to make an appointment for july next year with your luthier of 
 choice. In the mean time, Happy luting! Lex
 
 
 Op 20 nov 2011, om 16:07 heeft Monica Hall het volgende geschreven:
 
 
 
  Hello Daniel
 
 
 
  Our musical correspondences on these lists have not crossed paths
  before (I am Baroque Guitar phobic- the stringing of 4th  5th courses
  gives me cold chills. I prefer the simplicity of a 13 course Baroque
  lute; and I tell no one that I string my 6th course in unisons- direct
  violation of Canon Law.)
 
 
 
  You are not alone!
 
   But right now it is fine so if I take it to the luthier he might
  wonder what I am banging on about.
  Sounds like a typical car problem- disappears in the presence of the
  mechanic, so  then you have to leave it overnight so he can try to
  start it up in the morning.
 
  Yes - I have a similar problem with my car.  One of the warning lights
  keeps coming on.   The garage has done diagnostic checks and say
  nothing wrong but the light still comes on at times.
 
  You'll have to wait for that interesting combo of Santa Ana wind and
  monsoon season (Aren't you in England?
 
  Yes - I live in inner London which has its own microclimate.   In the
  late summer we can have a heat wave and then the temperature can drop
  20 degrees over night.
 
  Hope this helps, at least with the broader perspective. We are not
  alone.
 
 
 
 
 
  Yes - that's very helpful and I am grateful for all the advice from
  other people too.   I plucked up my couraged and E-mailed a luthier who
  did some repairs for me a few years ago.   I'll see what if anything he
  suggests.
 
 
 
  Best wishes
 
 
 
  Monica
 
[Eugene C. Braig IV] Do be mindful that all manner of things can
cause
 
buzzing, from strings buzzing along lumpy frets to loose glue joints
along
 
structural seams to damaged/loose braces etc. ad infinitum.  Do get
it
 
checked out, but stay open-minded regarding possible causes.
 
Best,
 
Eugene
 
  Thank you for all the advice.   It is very helpful.  The problem is -
  and the reason why I so far haven't done anything about it - is because
  it is definitely seasonal.   Fine for 10 months of the year and
  gradually getting worse through July and August when we often have hot
  weather followed by heavy rain. And then suddenly perfectly OK again.
It is also pitch related.   It is focused around the high octave
  string on the fourth course and the same note stopped at the 3rd fret
  on the second course.   But right now it is fine so if I take it to the
  luthier he might wonder what I am banging on about.
  I don't think it is strings or frets.   Any other ideas will very
  welcome.
  Monica
 
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: which pavane?

[Lex van Sante]

Hi Hubert,

It is guardame las vacas by Luys de Narvaez. But it has been changed somewhat.

Nice piece though.

Lex

Op 20 nov 2011, om 16:28 heeft Hubert Kwisthout het volgende geschreven:

 Dear Lutenists,
 
 Who can tell me the name of this tune played by prog rock Group Ars Nova
 (1968):
 
 http://www.youtube.com/watch?v=-eYJ8lJmP3sfeature=related
 
 I seemed to recall that I had the tune on an album with European lute music
 played by Konrad Ragossnig, but it has vanished in the mists of time.
 
 I remain in anticipation,
 
 Hubert Kwisthout 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Gut strings

[Lex van Sante]

The fact that Kuerschner uses the term  plain gut/polyester in the string lists 
(not the catalogue) is because polyester has the same density as plain gut.
Which means the diameter of the string is the same. I have until now had no 
problem whatsoever obtaining gut strings from him.

Lex

Op 17 nov 2011, om 19:56 heeft Craig Robert Pierpont het volgende geschreven:

Light the end of one with a match. It will be obvious pretty quickly
   if they are gut or synthetic.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Thu, 11/17/11, Monica Hall mjlh...@tiscali.co.uk wrote:
 
 From: Monica Hall mjlh...@tiscali.co.uk
 Subject: [LUTE] Re: Gut strings
 To: Francesco Tribioli tribi...@arcetri.astro.it
 Cc: Lutelist lute@cs.dartmouth.edu
 Date: Thursday, November 17, 2011, 9:39 AM
 
 Kuerschner - from the catalog they say: plain gut (polyester) so I
   wonder
 if those strings are gut or polyester.
   I was wondering about that too!   I last bought a set of Kuerchner
   strings
   for my baroque guitar from a dealer in the UK in May and they are gut
   as far
   as I can tell but perhaps I have been mislead.
   Their list of alternative methods of stringing the baroque guitar
   include
   two
   which are entirely their own invention - 2 bourdons on the 5th course
   but
   octave stringing on the 4th... and two treble strings on the 5th course
   and
   two bourdons on the 4th course.
   Perhaps they are not as reliable as they seem...
   Monica
 
 Pyramid made gut strings in the past but I don't see gut mentioned
 anywhere
 in their site now.
 
 Stoppani - I heard that he makes only bass and midrange strings, not
 chantarelles, but I cannot say because there isn't a string catalog
   on his
 site.
 Kathedrale - I don't know: there isn't a string catalog either
 
 Both Stoppani and Kathedrale seems to me like small companies,
   probably
 not
 able to fill the string shortage.
 
 The situation doesn't look bright...
 
 Francesco
 
 -Original Message-
 From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On
 Behalf Of Bruno Fournier
 Sent: Thursday, November 17, 2011 3:39 PM
 To: [3]b...@symbol4.de
 Cc: [4]simon.lamb...@stfc.ac.uk; [5]lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Gut strings
 
   Hi All,A
 
   One thing for sure, when I spoke to the Sofracob owner last year
 before
   he closed, he mentioned that one of the main reasons and
   problems, was
   the mad cow disease issues in France over the last few years, and
   that
   it was becoming more and more difficult to obtain gut. A So who
   knows
   what the real story is. A Did anyone ask Mimmo directly?
 
   regards
 
   BrunoA
 
   Montreal, Canada
 
   On Thu, Nov 17, 2011 at 9:00 AM, [1][6]b...@symbol4.de wrote:
 
   A  Does anyone know if Kuerchner in Germany is still making gut
   strings?
   A  Or Kathedrale (?).
 
 A  It is quite funny - and also a little bit alarming- to see,
   how
 the EU
 A  bureaucracy becames the projection area for the strangest
   ideas
 and
 A  fears. A reputation well earned, some may say, but a little
   bit
 more of
 A  horse sense is recommended when one reads announcements like
   the
 one
 A  about gut strings - (or, before, the one about the alleged
 prohibition
 A  of natural medicine).
 A  In fact many people here in Brussels are quite normal. I as
   a
 German
 A  was at once sure that it must be a hoax, because we eat
   every day
 A  12.689.344 sausages, many of them with a delicious skin of
   sheep
 gut. I
 A  called a big producer of those so called saitling sausage
 skins: they
 A  are producing happily and will go on forever. The same with
 Kuerschner
 A  strings.
 A  I asked people form the health department of the EU
   commission:
 guts no
 A  topic at all.
 A  If you want to read really strange laws, read your national
 legislation
 A  :))
 A  So: No idea, where the gut story comes from.
 A  Perhaps we should still start in the good tradition one of
   those
 A  internet petitions ;)
 A  best wishes (while wishing is still allowed)
 A  Bernd
 A  --
 
   To get on or off this list see list information at
   [2][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
   A
 
   Bruno Cognyl-Fournier
 
   A
 
   [3]www.estavel.org
 
   A
 
   --
 
 References
 
   1. mailto:[8]b...@symbol4.de
   2. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. [10]http://www.estavel.org/
 
 
 
 
   --
 
 References
 
   1. file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
   2. file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
   3. file://localhost/mc/compose?to=b...@symbol4.de
   4. file://localhost/mc/compose?to=simon.lamb...@stfc.ac.uk
   5. file://localhost/mc/compose?to=lute@cs.dartmouth.edu
   6. file://localhost/mc/compose?to=b...@symbol4.de
   7.