[LUTE] Betsy Howard Small... Just Lovely
https://www.youtube.com/watch?v=opa9Nos-vtQ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Fuenllana "author. D."
This obviously isn't 'step by step' pedagogy as is in El Maestro by Luys de Milan, but surely is good help for students to pick better pieces to start with.. :-) Thanks Tomoko 2020å¹´1æ16æ¥(æ¨) 1:10 Jean-Marie Poirier <[1]jmpoiri...@wanadoo.fr>: F = facil (easy) and D = difficile (difficult) which clearly shows how subjective the concept of easy/ difficult could be ;-) ! Best, Jean-Marie > Le 15 janv. 2020 à 17:02, Ralf Mattes <[2]r...@mh-freiburg.de> a écrit : > >  > >> Am 15.01.2020 um 16:23 schrieb Mumin Lute <[3]lutenist.mumin.ko...@gmail.com>: >> >> Dear collective wisdom, >> This could be ridiculously silly question because of my lack of some >> very basic knowledge, but it would be very much appreciated if anyone >> could direct me to the right answer... >> In Fuenllana's Orphenica Lyra, >> what does " D " or "F" inthe heading of the piece stand for? >>It first appears on fol.17v as "Fantasia del author. .D.", capitalized >> and coloured in red. > > IIRC that indicates the difficulty of the piece. > > Cheers, RalfD > >> The following pieces apparently are fantasia by the author himself, >> the explanatory title on the top of the >>page says "Fantasia a quattro, Fuenllana." without any other >> attributions, so I guess the letter is not the initial of a composer. >> "F" is another mysterious letter on >>the heading..e.g. "Motete a quatro de Gombert. .F." on fol.50v... . I >> was inclined to think F is for Fuenllana but it obviously is not .. >> Regards, >> Tomoko >> . >> >> -- >> >> >> To get on or off this list see list information at >> [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. mailto:jmpoiri...@wanadoo.fr 2. mailto:r...@mh-freiburg.de 3. mailto:lutenist.mumin.ko...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Fuenllana "author. D."
Difficil and facil ! How instructive Fuenllana was.. Thank you so much !! Cheers, Tomoko 2020å¹´1æ16æ¥(æ¨) 1:05 Ralf Mattes <[1]r...@mh-freiburg.de>: > Am 15.01.2020 um 16:23 schrieb Mumin Lute <[2]lutenist.mumin.ko...@gmail.com>: > >Dear collective wisdom, >This could be ridiculously silly question because of my lack of some >very basic knowledge, but it would be very much appreciated if anyone >could direct me to the right answer... >In Fuenllana's Orphenica Lyra, >what does " D " or "F" inthe heading of the piece stand for? > It first appears on fol.17v as "Fantasia del author. .D.", capitalized >and coloured in red. IIRC that indicates the difficulty of the piece. Cheers, RalfD >The following pieces apparently are fantasia by the author himself, >the explanatory title on the top of the > page says "Fantasia a quattro, Fuenllana." without any other >attributions, so I guess the letter is not the initial of a composer. >"F" is another mysterious letter on > the heading..e.g. "Motete a quatro de Gombert. .F." on fol.50v... . I >was inclined to think F is for Fuenllana but it obviously is not .. >Regards, >Tomoko >. > >-- > > > 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:r...@mh-freiburg.de 2. mailto:lutenist.mumin.ko...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Fuenllana "author. D."
Dear collective wisdom, This could be ridiculously silly question because of my lack of some very basic knowledge, but it would be very much appreciated if anyone could direct me to the right answer... In Fuenllana's Orphenica Lyra, what does " D " or "F" in the heading of the piece stand for? It first appears on fol.17v as "Fantasia del author. .D.", capitalized and coloured in red. The following pieces apparently are fantasia by the author himself, the explanatory title on the top of the page says "Fantasia a quattro, Fuenllana." without any other attributions, so I guess the letter is not the initial of a composer. "F" is another mysterious letter on the heading..e.g. "Motete a quatro de Gombert. .F." on fol.50v... . I was inclined to think F is for Fuenllana but it obviously is not .. Regards, Tomoko . -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] fonts and replies
Hi Martyn The lute list converts all text to plain text. No fonts, no font sizes, no colors, and some non-North-American letters get garbled. This is done while removing any possible viruses from the message. It is also because in the past HTML formatted messages confused many people. If you want to keep your message clear I recommend that firstly you delete any text that isn’t relevant. This is important as otherwise a person can get confused reading the message with replies. Many people are too lazy to clean up their messages. Secondly I recommend that you separate thoughts and paragraphs with a blank line. The blank lines between paragraphs will stay with most mail readers. When you reply to a message, that message has been formatted by the list robot, by the original senders email program, and by your program. As your conversation goes back and forth these three processes interact in strange ways and add more and more layers to the message. So it really helps if you take the time to clean up the formatting and delete unnecessary text each time you reply. I know this interferes with the feeling of being in the moment which is so important to computer gamers, but it makes the results a lot more readable. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] no attachments on the lute list
A brief translation of the previous message . . . Hi Sarge - this list does not accept attachments. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Arcadelt
Hi Sarge - this list does not accept attachments. WayneBegin forwarded message:From: "Frank A. Gerbode, M.D." <mailto:sa...@gerbode.net"; class="">sa...@gerbode.net>Subject: [LUTE] Re: ArcadeltDate: November 6, 2019 at 1:54:35 PM ESTTo: ! mailto:lute@cs.dartmouth.edu"; class="">lute@cs.dartmouth.eduHmmm. Looks like the attachments didn't go through. Does this list not accept attachments?In any case, the files will be accessible for a short time at http://gerbode.net/ftp"; class="">http://gerbode.net/ftp--SargeOn 11/6/2019 10:44, Frank A. Gerbode, M.D. wrote:--D41830CF615DFBC1BEDBF55AContent-Type: text/plain; charset=utf-8; format=flowedContent-Transfer-Encoding: 8bitHere is a literal intabulation I made of the 3-part chanson, transposeda fourth down. It/is/ a bit thin, but could be beefed up a bit and a fewornaments or divisions added.--! SargeOn 11/6/2019 06:53, Rainer wrote:Should be "nous voyons que les hommes".According to Brown there are two intabulations for guitar - a bit thinfor the lute.RainerAm 05.11.2019 um 23:42 schrieb mailto:theoj89...@new-old-mail.cs.dartmouth.edu"; class="">theoj89...@new-old-mail.cs.dartmouth.edu:à à à Lutetopia:à à à Does anyone know if there is an in tabulation of the Arcadeltchansonà à à "nous voyons ques les hommes"? (It is a charming little tune).Thanksà à à trjà à à --To get on or off this list see list information athttp://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; class="! ">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html--Frank A. Gerbode, M.D. (mailto:sa...@gerbode.net"; class="">sa...@gerbode.net)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: http://www.gerbode.net"; class="">http://www.gerbode.net"The map may not be the territory, but it's all we've got."--D41830CF615DFBC1BEDBF55AContent-Type: text/html; charset=utf-8Content-Transfer-Encoding: 8bit<html> <head> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> </head> <body text="#00" bgcolor="#FF">! ; Here is a literal intabulation I made of the 3-part chanson, transposed a fourth down. It<i> is</i> a bit thin, but could be beefed up a bit and a few ornaments or divisions added.<br> <br> --Sarge<br> <br> <div class="moz-cite-prefix">On 11/6/2019 06:53, Rainer wrote:<br> </div> <blockquote type="cite" cite="mid:mailto:10-08115d63-65e6-e915-81f9-1df237555...@t-online.de"; class="">10-08115d63-65e6-e915-81f9-1df237555...@t-online.de">Should be "nous voyons que les hommes". <br> &nb! sp; <br> According to Brown there are two intabulations for guitar - a bit thin for the lute. <br> <br> Rainer <br> <br> Am 05.11.2019 um 23:42 schrieb <a class="moz-txt-link-abbreviated" href="mailto:theoj89...@new-old-mail.cs.dartmouth.edu"; class="">mailto:theoj89...@new-old-mail.cs.dartmouth.edu">mailto:theoj89...@new-old-mail.cs.dartmouth.edu"; class="">theoj89...@new-old-mail.cs.dartmouth.edu</a>: &n! bsp;<br> <blockquote type="cite">à à à Lutetopia: <br> à à à Does anyone know if there is an in tabulation of the Arcadelt chanson <br> à à à "nous voyons ques les hommes"? (It is a charming little tune). Thanks <br> à à à trj <br> &nb! sp; <br> &n! bsp; à à à -- <br> <br> <br> To get on or off this list see list information at <br> <a class="moz-txt-link-freetext" href="http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; class="">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; class="">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html</a> <br> <br> &nbs! p; </blockquote> <br> <br> <br> </blockquote> <br> <pre class="moz-signature" cols="72">--Frank A. Gerbode, M.D. (<a class="moz-txt-link-abbreviated" href="mailto:sa...@gerbode.net"; class="">mailto:sa...@gerbode.net">mailto:sa...@gerbode.net"; class="">sa...@gerbode.net</a>)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: <a class="moz-txt-link-freetext" href="http://www.gerbode.net"; class="">http://www.gerbode.net">http://www.gerbode.net"; class="">http://www.gerbode.net</a>"The map may not be the territory, but it's all we've got."<! ;/pre> </body></html>--D41830CF615DFBC1BEDBF55A-- Frank A. Gerbode, M.D. (mailto:sa...@gerbode.net"; class="">sa...@gerbode.net)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: http://www.gerbode.net"; class="">http://www.gerbode.net"The map may not be the territory, but it's all we've got." --
[LUTE] stolen theorbo
A Matthew Durvie theorbo was stolen from Dr. Gregory Hamilton oct. 8th in Irving Texas. you can contact him at 8325450900 Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Lord my careful Shepherd is
> > I lack Rainer’s gift for detail, but I am intrigued at the thought that a > collection of music from around 1600 may still have been in use 80 or 90 > years later, or that someone 80 or 90 years later was in desperate need of > scratch paper to write down Psalm 23. > Back then all paper was as expensive and as durable as artist’s hand made watercolor paper is today. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)
Sounds the same ... Could be said of any music genre that somebody is not familiar with or doesn't appreciate. I have friends in a wonderful old-time fiddle/bluegrass group from Minneapolis/St. Paul, MN called "The Buffalo Gals". In one of their numbers they start playing "Skip To My Lou", while singing, "All these fiddle tunes sound the same, All these fiddle tunes sound the same, All these fiddle tunes sound the same, Same, same, same ... " Tom On 15 Jul 2019 at 16:35, howard posner wrote: > > On Jul 15, 2019, at 8:44 AM, theoj89...@new-old-mail.cs.dartmouth.edu wrote: > > > > I would posit that the father has a much higher probability > > of being more accurate, in that 'all pop music sounds the same', or > > certainly -much- pop music sounds the same, no? > > I couldn´t tell you. First, you haven´t defined "pop music" by either genre > or time; second, whatever the definition is, I haven´t listened to enough of > it to form a judgment; and third, if I listened to enough of it to form a > judgment, I would be an aficionado attuned to its differences, and would > therefore not think it all sounded the ame. > > BTW, if your point is that there's a lot formula and fill-in-the-blanks in > pop music, the same is true of, say, Mozart´ symphonies (Mozart scholars talk > about "filler passages" that are interchangeable from one to another) and > Handel´s operas. It doesn´t they aren´t good. > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Julian Bream on Lute
the 1991 LSA quarterly issue 2 has an interview with Julian Bream, where he exposes all his secrets! Wayne > Begin forwarded message: > > From: "Franz Mechsner" > Subject: [LUTE] Re: Julian Bream on Lute > Date: June 18, 2019 at 7:13:58 PM EDT > To: "Dan Winheld" > Cc: lute@cs.dartmouth.edu > > Dear Dan, > > Julian Bream actually pioneered lute playing very early. Watch > this beautiful movie on him that makes me smile (lute things come > somewhere in the > middle): [1]https://www.youtube.com/watch?v=MUdunh_wMCI > > Warm regards and best > Franz > > Dr. Franz Mechsner > Zum Kirschberg 40 > D-14806 Belzig OT Borne > +49(0)33841 441362 > franz.mechs...@gmx.de > > > Gesendet: Mittwoch, 19. Juni 2019 um 01:07 Uhr > Von: "Dan Winheld" > An: "Franz Mechsner" , lute@cs.dartmouth.edu > Betreff: Re: [LUTE] Julian Bream on Lute > Nope. Never heard of him. > On 6/18/2019 3:49 PM, Franz Mechsner wrote: >> Dear collective wisdom, >> >> I just heard some pieces played by admired guitarist Julian Bram on > the >> lute. It seems to me he played kind of classical guitar style on the >> lute. Strange, but It sounds wonderful to me, not only bold for the >> time. Does anyone understand how he played the (maybe special) lute > and >> produced the wonderful sound on a lute admittedly built for him? >> >> Best and curious >> Franz >> >> Dr. Franz Mechsner >> Zum Kirschberg 40 >> D-14806 Belzig OT Borne >> +49(0)33841 441362 >> franz.mechs...@gmx.de >> >> >> To get on or off this list see list information at >> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > References > > 1. https://www.youtube.com/watch?v=MUdunh_wMCI > 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] TAB for windows 64 bit
I have a 32 bit version of the tab executable at https://home.cs.dartmouth.edu/~wbc/wtab/ <https://home.cs.dartmouth.edu/~wbc/wtab/> as well as a 64 bit version. Just in case you worry about pointer to int conversion. Wayne > Begin forwarded message: > > From: Rainer > Subject: [LUTE] Re: TAB for windows 64 bit > Date: April 14, 2019 at 3:07:44 AM EDT > To: lute net > > I create a new 32-bit executable for Windows from time to time - from an new > source version released by Wayne. > Anybody who wants to receive these new versions please let me know. > > I also have a manual based on Leonard's manual. > > > I don't think creating a 64 bit version makes sense. Nobody needs to create > tab files with several Giga bytes :) > > Rainer > > On 09.04.2019 12:48, Wayne wrote: >> Hi lute people - >> I have compiled a windows 64 version of my tab program, and put it at >> https://home.cs.dartmouth.edu/~wbc/wtab/ >> This is a very ârawâ distribution and is only for people who are very >> comfortable >> with command prompt and already are familiar with using my tab program. >> There >> are some tips at >> https://www.cs.dartmouth.edu/~wbc/lute/tab-with-vs.html >> but I wonât be able to give people a lot of help. >>Wayne >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Tip - Lute Scribe character / font question
Hi Lute People and Jurgen - Looks like you donât know that the lute list does not like pictures, which in this case is a shame. Perhaps you could post them on a web site or google documents. They show characters, especially the letter e, in lute-scribe input format and as output by my âtabâ programt. Jurgen says . . . Hello there, I am asking about the "e" in lute scribe - in the editor the character appears as a "normal" minuscule e whereas in print the character has changed to a tilted small capital "E" as documented in the attached screenshots - actually I very much like that capital E but I cannot find it in the font. How does this miracle happen? Thanks for a hint, Jurgen you can email Jurgen at eye-and-ear-cont...@protonmail.com <mailto:eye-and-ear-cont...@protonmail.com> and you can read about my tab program at https://www.cs.dartmouth.edu/~wbc/lute/AboutTab.html Wayne > Begin forwarded message: > > From: Jurgen Frenz > Subject: [LUTE] Lute Scribe character / font question > Date: March 4, 2019 at 9:14:51 PM EST > To: Lute List > Reply-To: Jurgen Frenz > > ogÑÑ Ñ7uЧoMÐoVкÑmÐпо_зÐÐзpÐÂзÐÐ<ÐzзÐÐÑej)м > ÐÑz > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: tab program
you would type { Bourr\'ee } with the warning that some modern text editing programs change the characters around. the single quote, for example, may be rewritten as a special character which is half of a pair of balanced quotes. Mac TextEdit does this, and you have to turn off smart editing. I use a programmers editor like vim or emacs that doesnât make the switch. Wayne > Begin forwarded message: > > From: Alain Veylit > Subject: [LUTE] Re: tab program > Date: July 26, 2018 at 2:40:11 PM EDT > To: lute@cs.dartmouth.edu > > A quick question about Wayne's tab program: how do I get the French accents > (e acute, e grave) to display correctly in the titles? I am getting slashed > Os instead of 'é' (e acute) for example, and a slashed L for 'è'. The c > cedilla however is fine, and u umlaut ... > > Example: { Bourrée } > > Also: if I have two pieces in a single tab file, can I get extra vertical > spacing between the two pieces? > > Alain > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] check your email addresses
Hello Lute List People - Occasionally I check the spam traps for the lute list and I see messages from people who are really members of the lute list. These people have one email address on the robotâs list, but send their message from another address. It could be because they moved, or got a new service, or it could be because their provider changed their address. The robot does not recognize the new address and so blocks the message. If you post something to the lute list and it doesnât get through, check to see if the address you are sending is the same as the one that messages addressed to you use. Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] London Weiss manuscript is online
If you download a whole single page you donât get the donât ge the same amazing resolution! Wayne > Begin forwarded message: > > From: Markus Lutz > Subject: [BAROQUE-LUTE] London Weiss manuscript is online > Date: June 20, 2018 at 5:48:46 AM EDT > To: Barocklautenliste > > Dear members of the baroque lute list, > Tim Crawford has written, that now the London Weiss manuscript is online. It > can be viewed and also be downloaded via the following link: > http://access.bl.uk/item/viewer/ark:/81055/vdc_100059002407.0x01 > > It seems as if only downloading single jpgs works (at least for me). > It is a very good scan, although the given resolution isn't that detailed. > But you can look online into the pages in a very high resolution! > > Best regards > Markus > > > -- > > Markus Lutz > SchulstraÃe 11 > > 88422 Bad Buchau > > Tel 0 75 82 / 92 62 89 > Fax 0 75 82 / 92 62 90 > Mail mar...@gmlutz.de > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] The article by Annette Otterstedt about David Dolata's book about tuning
You may be right, but I can always claim that my computer was hacked. Wayne > Begin forwarded message: > > From: Rainer > Subject: Re: [LUTE] The article by Annette Otterstedt about David Dolata's > book about tuning > Date: May 13, 2018 at 1:34:33 PM EDT > To: wayne lute > > Wayne, this may be slightly illegal :) > > Rainer > > On 13.05.2018 19:26, wayne lute wrote: >> Hi Lute people - >> Martyn sent me a copy of Annette Otterstedtâs review of David Dolata's >> book about tuning and it is avilable on my web site >> http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf >> <http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf> >> Wayne >> -- >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] The article by Annette Otterstedt about David Dolata's book about tuning
Hi Lute people - Martyn sent me a copy of Annette Otterstedtâs review of David Dolata's book about tuning and it is avilable on my web site http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf <http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf> Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Re : Re: Loose frets
Hi Martyn - That is a bogus address. Because anti-spam measures are really fierce these days I have to send out many messages with a fake âFrom: â address. The real address is in the âReply=To:â filed which you may not see in your mail reader without asking for all the headers. Anthonyâs real address is agno3ph...@yahoo.com <mailto:agno3ph...@yahoo.com> Wayne > Begin forwarded message: > > From: Martyn Hodgson > Subject: [LUTE] Re: Re : Re: Loose frets > Date: March 12, 2018 at 7:17:36 AM EDT > To: Anthony Hind , John Lenti > > Cc: Lutelist Net > Reply-To: Martyn Hodgson > > Dear Anthony, > Your email address agno3ph...@cs.dartmouth.edu bounces back (it didn't > use to)! Have you another for a personal communication? > Martyn > __ > > From: Anthony Hind > To: John Lenti > Cc: Lutelist Net > Sent: Monday, 12 March 2018, 10:15 > Subject: [LUTE] Re : Re: Loose frets > A very good tip, John, as is the idea of pre-wetting the fret > material. > I wish I had thought of that these last few years, suffering from > severely slipping frets in similar changing conditions. However, as I > had resorted to a nylgut chanterelle, which quickly frays gut frets, > I > decided to try Mimmo's new synthetic fret material. This has only > been > on my lute for a few weeks, so I can't report on durability; however, > I > can say that, as expected, this material is not effected by humidity, > but also less expectedly, it seems slightly softer than modern gut > (therefore, presumably not from Nylgut, as has been suggested). This > would have the advantage of not damaging gut strings, as reportedly > nylgut frets would do; but the possible disadvantage of making > stopped > strings sound very slightly softer (but less so, I would judge, than > the much softer sounding double gut frets, with which I do have > experience, and appreciated for their greater durability). In spite > of > their slippery surface, with the knot advised for them by Mimmo, they > do seem to slip far less than gut frets. > Regards > Anthony > [1]Sent from Yahoo Mail for iPhone > Le lundi, mars 12, 2018, 8:13 AM, John Lenti > <[1]johnle...@hotmail.com> a > à ©crit : > I'm a little reluctant to share something that might seem almost > immoral, but what the hell, I make my living playing the lute and I > tie > a lot of frets, so I'll chip in here: when I go, as I do almost > weekly, > from my home in Seattle, where the weather is always perfect for > gut-strung-and-fretted instruments, to a place like the mountains > of > Montana or the desert of Tucson and the humidity is 1% and my frets > (usually it's 1, 5, and 6 on my main touring instrument) start > slipping > and sliding around, and I don't feel like re-fretting, I tape them > down > with masking tape. > Sent from [1]Mail for Windows 10 > > ______ > From: [2][2]lute-...@cs.dartmouth.edu > <[3][3]lute-...@cs.dartmouth.edu> on > behalf > of howard posner <[4][4]howardpos...@ca.rr.com> > Sent: Friday, March 9, 2018 9:01:32 AM > To: [5][5]lute@cs.dartmouth.edu > Subject: [LUTE] Re: Loose frets >> On Mar 9, 2018, at 8:12 AM, John Mardinly > <[6][6]john.mardi...@asu.edu> > wrote: >> >> My frets never come loose and they have not worn out yet. They > are >> metal. > I want to know how you tied them on in the first place. You must > have > really strong fingers. > To get on or off this list see list information at > > [2][7][7]https://nam01.safelinks.protection.outlook.com/?url=http:%2F%2 > Fww > w.c > > s.dartmouth.edu%2F~wbc%2Flute-admin%2Findex.html&data=02%7C01%7C%7Cb2e0 > > 482fe1c54b991ec608d585df2c7f%7C84df9e7fe9f640afb435%7C1%7C0 > > %7C636562115923455431&sdata=IZZ6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA > %3D&reserved=0 > -- > References > 1. [8][8]https://go.microsoft.com/fwlink/?LinkId=550986 > 2. > > [9][9]https://nam01.safelinks.protection.outlook.com/?url=http://www.cs > .da > > rtmouth.edu/~wbc/lute-admin/index.html&data=02|01||b2e0482fe1c54b991ec6 > > 08d585df2c7f|84df9e7fe9f640afb435|1|0|636562115923455431&sd > ata=IZZ6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA=&reserved=0
[LUTE] Re: Nursing Home Music
It is challenging, to say the least, to work or do any volunteer work in hospices and nursing homes. But I think doing so is a very generous and kind thing to do. I am glad to hear that you, George, and others are doing it. None of us can know what impact it might have on someone staying there. Might be none, might be some. But, as George pointed out, it is a great way for a performer to have a live audience and to work on their performing skills in front of an audience that won't be critical. So there is benefit both ways, I guess. And, you just never know when you might have someone in the audience who has a grandson or a granddaughter who might have some interest in the lute and your playing there just happened to have coincided with grandson/granddaughter's visit to their relative and the younger person asks you about the lute. Or their grandparent tells them about your having come and played and they show interest. Is this a long shot? Yes. But it can happen. We just never know when our playing will touch someone and bring someone new to the lute. So, for all you who are playing in hospitals, nursing homes, hospices, etc. I say "you are doing a noble and kind thing" and you may just bring someone new to the lute. Good on you for doing this. Michael M. Grant, PhD, MBA President/Chairman of the Board Director, Lute Rental Program [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [1]www.lutesocietyofamerica.org On Thu, Jan 4, 2018 at 11:40 PM, George Arndt <[2]george.ar...@hotmail.com> wrote: Hello Nancy and Dan: We have been playing nursing homes for the past 5 years. One to four a month depending on the season. We play celtic, old jazz, old rock tunes, and lots of classical stuff. My friend plays his 12-string guitar and I play lutes, recorders, banjos, and the ancillary stuff. We have played hospitals, pizza places, seldom bars, and most of the local festivals. A key step to follow is making sure we schedule a return visit before we depart. Calling ahead the day before we come back to play again has proven helpful too. There is no money in this as everybody knows. We have fun and sometimes think of it as "practice" in front of a live audience. There are some truly sad cases to be sure. Many people just want to talk and we strive to exit in less than 90 minutes after arrival. On occasion I have knocked on open doors and asked people in bed if I can "give them a tune". This is the situation where I have found the lute works best. When folks who have never seen a lute ask: "why is it bent?" I tell them: "so I can run through doors faster" and that usually brings a smile. Music and prayer are the last things the failing mind holds on to and anybody who plays nursing homes can readily make this connection with the audience. Lastly it really is true there are geriatric groupies out there, we can still out-walk them. I have seen Stephen Wade perform, still have the 50 cent BIC pen, and few people are in his class. I agree that two or more musicians might put on an entertaining show if they insert simple humor with any kind of music. Especially with the hits of the 1600's. See you in Cleveland. Thanks, George ________ __ From: [3]lute-...@cs.dartmouth.edu <[4]lute-...@cs.dartmouth.edu> on behalf of Daniel Shoskes <[5]kidneykut...@gmail.com> Sent: Thursday, January 4, 2018 6:31 PM To: Nancy Carlin Cc: Lute List Subject: [LUTE] Re: Early Music life My hospital has an ongoing medicine and the arts program. Three rotating venues: entrance hall in one of the smaller buildings, an enclosed rooftop lounge and the post-surgery family waiting area. Mostly "modern" classical with occasional jazz, mostly students from the Cleveland Institute of Music. I've played 3 times over the years. Once I played vihuela while gowned up for someone in reverse isolation. It's all typically well received but obviously it's more in the genre of background music to help relax people who are stressed out rather than hard core rep that requires intense concentration. Also, 2 of the 3 locations are worthless for the lute without amplification. Don't know if this turns anyone on to a lifetime of music concert going but it's makin
[LUTE] Re: Bad lute music
John meant to say . . . Beethovenâs deafness was caused by âinner earâ 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. > Begin forwarded message: > > From: John Mardinly > Subject: [LUTE] Re: Bad lute music > Date: November 11, 2017 at 12:17:52 PM EST > To: howard posner > Cc: Lutelist > > гM4Ñ6м>;Ñ>Ñпa|а;ÑNÐпNÑÐкÐÑÂÐ*'ÐÑÑO*^ÐÑmÑÂZÂw!jÐ > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: In search of a strap pin
I buy them for rental lutes from David Fitzpatrick. [1]https://davidefitzpatrick.com/ Michael M. Grant, PhD, MBA President/Chairman of the Board Director, Lute Rental Program [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [2]www.lutesocietyofamerica.org On Sun, Oct 8, 2017 at 3:52 PM, Lynda Kraar <[3]guitargirl4scrab...@cs.dartmouth.edu> wrote: My lute strap pin fell out and has gone AWOL. Any suggestions for a replacement? I'd be willing to purchase one from anyone who has one that might work - the hole is 7.8 mm. Thanks, Lynda Kraar -- To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://davidefitzpatrick.com/ 2. http://www.lutesocietyofamerica.org/ 3. mailto:guitargirl4scrab...@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: "Sting Effect" (was Direwolf Hall)
no effect noticed. Perhaps that is because Sting did neither Dowland nor the lute any service? Not an "artist" I would have chosen to sing Dowland...or anything else for that matter. On Thu, Sep 7, 2017 at 5:04 PM Edward Martin <[1]edvihuel...@gmail.com> wrote: Actually, I cannot recall that I have seen a raising profile since the "Sting Effect". ed On Thu, Sep 7, 2017 at 3:55 PM, howard posner <[1][2]howardpos...@ca.rr.com> wrote: > On Sep 7, 2017, at 1:40 PM, John Mardinly <[2][3]john.mardi...@asu.edu> wrote: > > So is there any chance that this will result in archlute themed backpacks, pencil cases, blankets, pillows or other Disney themed merchandise? It's been 11 years (!) since Sting tackled (as it were) Dowland in Songs from the Labyrinth.Some of us were speculating about a potential "Sting effect" raising the lute's profile in the world. Did anyone notice one? To get on or off this list see list information at [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[5]howardpos...@ca.rr.com 2. mailto:[6]john.mardi...@asu.edu 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Sent from Gmail Mobile -- References 1. mailto:edvihuel...@gmail.com 2. mailto:howardpos...@ca.rr.com 3. mailto:john.mardi...@asu.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. mailto:howardpos...@ca.rr.com 6. mailto:john.mardi...@asu.edu 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] what about the lute database
Hi - There is a database of original lutes at http://www.cs.dartmouth.edu/~lsa/associated/database/dbsearch.php <http://www.cs.dartmouth.edu/~lsa/associated/database/dbsearch.php> which at one time seemed like an active project, but it looks like nothing has happened in ten years. Can anyone tell me what happened to this project? I was reminded of it because I had to do some repair work to it. It was sponsored by the Lute Society or America but I donât see it on their new web site. Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vivat Eliza
Dear David san I didn't think of HIP, but am glad that the topic moved on to it and to know the latest perspective of experts' ... :-) I know Robert Spencer's opinion on singing early modern English which I am not trying to question at the moment. I should have asked 'received pronunciation' (?) of Laten in Anglican church of today.. I am not sure about "Eliza" in latin. "Vivat" is to be pronounced like vee-vat as far as I know... ( other Latin phrases appear in the song didn't sound that English-like in the Rooley's recording.) Tomoko 2017/04/24 0:48 "David van Ooijen" <[1]davidvanooi...@gmail.com>: HIP 2.0 (?!) Wa chotto hen desu, yo! *** David van Ooijen [1][2]davidvanooi...@gmail.com [2][3]www.davidvanooijen.nl *** On 23 April 2017 at 17:44, Jerzy Zak <[3][4]jurek...@gmail.com> wrote: Dear Tomoko, Try GoogleTranslate. Put your fraze in the space on the left, choose a language you think it is in, and press the little speaker underneath. Then keep changing languages until you think it rhymes best with âAve MarÃa'. Stupid but works ;) Jerzy â > On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail <[4][5]lutenist.mumin.ko...@gmail.com> wrote: > > Dear lute-list, > > Could anyone help me clarify pronunciation of "Vivat Eliza" in Dowland's composition > to Sir. Henry Lee's poem "Time's Eldest Son"? > > I thought it could be " viÃvà ¦t ("Vivat" read in ecclesiastical Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes with "Ave Maria" ) though many sang it " vaà ªvà ¦t Ãlà ¬à ªzÃ" for which I couldn't find any reason... > > Tomoko > > > > > > To get on or off this list see list information at > [5][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[7]davidvanooi...@gmail.com 2. [8]http://www.davidvanooijen.nl/ 3. mailto:[9]jurek...@gmail.com 4. mailto:[10]lutenist.mumin.ko...@gmail.com 5. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2017/04/24 0:48 "David van Ooijen" <[12]davidvanooi...@gmail.com>: HIP 2.0 (?!) Wa chotto hen desu, yo! *** David van Ooijen [1][13]davidvanooi...@gmail.com [2][14]www.davidvanooijen.nl *** On 23 April 2017 at 17:44, Jerzy Zak <[3][15]jurek...@gmail.com> wrote: Dear Tomoko, Try GoogleTranslate. Put your fraze in the space on the left, choose a language you think it is in, and press the little speaker underneath. Then keep changing languages until you think it rhymes best with âAve MarÃa'. Stupid but works ;) Jerzy â > On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail <[4][16]lutenist.mumin.ko...@gmail.com> wrote: > > Dear lute-list, > > Could anyone help me clarify pronunciation of "Vivat Eliza" in Dowland's composition > to Sir. Henry Lee's poem "Time's Eldest Son"? > > I thought it could be " viÃvà ¦t ("Vivat" read in ecclesiastical Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes with "Ave Maria" ) though many sang it " vaà ªvà ¦t Ãlà ¬à ªzÃ" for which I couldn't find any reason... > > Tomoko > > > > > > To get on or off this list see list information at > [5][17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[18]davidvanooi...@gmail.com 2. [19]http://www.davidvanooijen.nl/ 3. mailto:[20]jurek...@gmail.com 4. mailto:[21]lutenist.mumin.ko...@gmail.com 5. [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:davidvanooi...@gmail.com 2. mailto:davidvanooi...@gmail.com 3. http://www.davidvanooijen.nl/ 4. mailto:jurek...@gmail.com 5. mailto:lutenist.mumin.ko...@gmail.com 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. mailto:dav
[LUTE] Re: do you know these ads? -now removed
Hi Lute people - Thanks to you people who pointed out that the pictures came from ebay. I have removed the ads from my web page. Wayne > Begin forwarded message: > > From: wbc > Subject: [LUTE] do you know these ads? > Date: March 15, 2017 at 1:15:00 PM EDT > To: lute@cs.dartmouth.edu > > Hi Lute people - > > I just got two ads, one for a romantic guitar and one for a vihuela, I > posted them on my lutes for sale web page - > http://www.cs.dartmouth.edu/~wbc/lute/forsale.html > <http://www.cs.dartmouth.edu/~wbc/lute/forsale.html> - but something about > the ads has me concerned. They both came in within a few minutes, both are > terse and donât describe the instrument much at all. Neither pictures are > great. And the names are a but odd. Could you folks take a look at what now > are the first two entries and tell me what you think, especially if you > happen to know the people or instruments involved. > > Wayne > > > > -- > > 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
--94eb2c129292162977054916b8fc Content-Type: text/plain; charset=UTF-8 See if these work for you. Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors www.lutesocietyofamerica.org On Tue, Feb 21, 2017 at 11:05 PM, sterling price < spiffys84...@cs.dartmouth.edu> wrote: > 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 > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --94eb2c129292162977054916b8fc Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable See if these work for you.MichaelMichael M. Grant, PhDDirector, Lute Rental ProgramMember, Board of Directorshttps://docs.google.com/uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download"; width="120" height="64">http://www.lutesocietyofamerica.org"; target="_blank">www.lutesocietyofamerica.org On Tue, Feb 21, 2017 at 11:05 PM, sterling price <mailto:spiffys84...@cs.dartmouth.edu"; target="_blank">spiffys84...@cs.dartmouth.edu> wrote:  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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --94eb2c129292162977054916b8fc-- --
[LUTE] Re: planetary tuners
A musician friend of mine, who majored in physics in college, wrote a song: "Between atrophy and entropy we haven't got a chance " I think that applies here , Tom Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Feb 12, 2017, at 12:08 PM, John Mardinly wrote: > So my suspicion that it could drive you nuts was well founded. Sounds > like you may be an under-appreciated hero to Lutedom. > > A. John Mardinly, Ph.D., P.E. > Retired Principal Materials Nanoanalysis Engineer > > On Feb 12, 2017, at 7:33 AM, LSA Lute Rental Program > <[1]lsaluteren...@gmail.com> wrote: > > John, > You are quite right and that would do much to solve the roundness > problem. But my other problem is that the rental lutes are stored in 3 > places across the US and since they are rentals they are rented out to > people. This means we don't have access to the lutes because they are > in the hands of the renters...sometimes for several years at a time. > There are lutes in the collection that I have never even seen in person > much less put my hands on so I can do things like you suggest. That is > why I wish I could put PegHedz on them all--because I can't care for > the friction pegs and even though I may ask renters to do so they are > renters and not owners and sometimes their motivation to be thorough in > care is, well, somewhat diminished to put it mildly. I also think > renters would benefit from them as, to me, tuning is much easier and > for people who are renting (this almost always means they are new to > the lute--which is why they are renting) it would be, in my opinion, a > benefit. > But this is all just theoretical since we don't have the money it costs > to replace the pegs. So we will live with what we have and I will deal > with peg problems as they come up. > Michael > Michael M. Grant, PhD > Director, Lute Rental Program > Member, Board of Directors > [uc?id9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] > [2]www.lutesocietyofamerica.org > On Sat, Feb 11, 2017 at 11:46 PM, John Mardinly > <[3]john.mardi...@asu.edu> wrote: > > Michael; > With standard pegs, they won't go out of round if you maintain them > properly. That means loosening the peg by turning it and pulling out a > bit so that there is just light pressure between the wooden parts. That > compensates for the dimensional changes caused by humidity changes. Of > course that throws the instrument out of tune, which means you might > need to re-tune it, and if you have 42 lutes you will need extra > staff, medical marijuana or psychiatric treatment. > However, you probably already know this. > A. John Mardinly, Ph.D., P.E. > Retired Principal Materials Nanoanalysis Engineer > > On Feb 11, 2017, at 5:32 PM, LSA Lute Rental Program > <[4]lsaluteren...@gmail.com> wrote: > > About once a year the topic of planetary tuners comes up on this > listserve. People weigh in for and against, sometimes (like last > year) the discussion gets overheated as some who are against cite > historical authenticity and other factors as reasons against and > those > who are for them cite the "make it easy on yourself--adopt modern > methods" position to support their use. > Then, after the dust settles, we discover we are pretty much evenly > split for and against and the issue dies down only to rise again in > 12 > months. > For those who do not wish to use planetary tuners, the most notable > example of which is PegHedz, their best approach is not to use them. > For those, like me, who have used them and like them very much > indeed, > the best approach is to keep using them. I have 42 instruments in > the > LSA's lute rental collection and if I had the money to do so I would > install PegHedz on every single one. The LSA neither supports nor > does not support the use of any particular tuner, including friction > pegs or planetary tuners such as PegHedz. I am only telling you > that > I think they are such a valuable resource that I would put them on > all > the lutes if it could be afforded. It can't so I won't. But if I > did it would forever eliminate the problem that aging lutes have of > pegs that become out of round and needing replacing or retooling. > It > would also make tuning much easier for beginners--but that is just my > opinion. > So it seems best for us to use what we like as tuners and focus on > the > music we make with the strings. Let
[LUTE] Re: planetary tuners
John, You are quite right and that would do much to solve the roundness problem. But my other problem is that the rental lutes are stored in 3 places across the US and since they are rentals they are rented out to people. This means we don't have access to the lutes because they are in the hands of the renters...sometimes for several years at a time. There are lutes in the collection that I have never even seen in person much less put my hands on so I can do things like you suggest. That is why I wish I could put PegHedz on them all--because I can't care for the friction pegs and even though I may ask renters to do so they are renters and not owners and sometimes their motivation to be thorough in care is, well, somewhat diminished to put it mildly. I also think renters would benefit from them as, to me, tuning is much easier and for people who are renting (this almost always means they are new to the lute--which is why they are renting) it would be, in my opinion, a benefit. But this is all just theoretical since we don't have the money it costs to replace the pegs. So we will live with what we have and I will deal with peg problems as they come up. Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [1]www.lutesocietyofamerica.org On Sat, Feb 11, 2017 at 11:46 PM, John Mardinly <[2]john.mardi...@asu.edu> wrote: Michael; With standard pegs, they won't go out of round if you maintain them properly. That means loosening the peg by turning it and pulling out a bit so that there is just light pressure between the wooden parts. That compensates for the dimensional changes caused by humidity changes. Of course that throws the instrument out of tune, which means you might need to re-tune it, and if you have 42 lutesâ¦â¦you will need extra staff, medical marijuana or psychiatric treatment. However, you probably already know this. A. John Mardinly, Ph.D., P.E. Retired Principal Materials Nanoanalysis Engineer On Feb 11, 2017, at 5:32 PM, LSA Lute Rental Program <[3]lsaluteren...@gmail.com> wrote: About once a year the topic of planetary tuners comes up on this listserve.People weigh in for and against, sometimes (like last year) the discussion gets overheated as some who are against cite historical authenticity and other factors as reasons against and those who are for them cite the "make it easy on yourself--adopt modern methods" position to support their use. Then, after the dust settles, we discover we are pretty much evenly split for and against and the issue dies down only to rise again in 12 months. For those who do not wish to use planetary tuners, the most notable example of which is PegHedz, their best approach is not to use them. For those, like me, who have used them and like them very much indeed, the best approach is to keep using them. I have 42 instruments in the LSA's lute rental collection and if I had the money to do so I would install PegHedz on every single one.The LSA neither supports nor does not support the use of any particular tuner, including friction pegs or planetary tuners such as PegHedz.I am only telling you that I think they are such a valuable resource that I would put them on all the lutes if it could be afforded.It can't so I won't.But if I did it would forever eliminate the problem that aging lutes have of pegs that become out of round and needing replacing or retooling. It would also make tuning much easier for beginners--but that is just my opinion. So it seems best for us to use what we like as tuners and focus on the music we make with the strings.Let us all continue to make beautiful music no matter what method we use to tension our strings. Michael On Sat, Feb 11, 2017 at 5:53 PM Charles Mokotoff <[1][4]mokot...@gmail.com> wrote: Seems we are about 50/50 split on the peghedz... FWIW, I have used this device: [1][2][5]https://urldefense.proofpoint.com/v2/url?u=https- 3A__www.amazon.com_Ernie-2DBall-2DPowerpeg-2DBattery- 2DPowered_dp_&d=DQIBAg&c=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU&r= MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ&m=NIRfj- oODuubeNdT31nk3d6Py8Hum4Es2kpGPoRLDp4&s=Z3rK7eE8clhRRlhovKEvSBAiguoaVa ubyu-ARWOJktY&e= B0019H 6750/ref=sr_1_1?ie=UTF8&qid=1486853424&sr=8-1& to get around the tedium of string changing, its sort of fun actually, and fits my pegs fine.
[LUTE] Re: planetary tuners
About once a year the topic of planetary tuners comes up on this listserve. People weigh in for and against, sometimes (like last year) the discussion gets overheated as some who are against cite historical authenticity and other factors as reasons against and those who are for them cite the "make it easy on yourself--adopt modern methods" position to support their use. Then, after the dust settles, we discover we are pretty much evenly split for and against and the issue dies down only to rise again in 12 months. For those who do not wish to use planetary tuners, the most notable example of which is PegHedz, their best approach is not to use them. For those, like me, who have used them and like them very much indeed, the best approach is to keep using them. I have 42 instruments in the LSA's lute rental collection and if I had the money to do so I would install PegHedz on every single one. The LSA neither supports nor does not support the use of any particular tuner, including friction pegs or planetary tuners such as PegHedz. I am only telling you that I think they are such a valuable resource that I would put them on all the lutes if it could be afforded. It can't so I won't. But if I did it would forever eliminate the problem that aging lutes have of pegs that become out of round and needing replacing or retooling. It would also make tuning much easier for beginners--but that is just my opinion. So it seems best for us to use what we like as tuners and focus on the music we make with the strings. Let us all continue to make beautiful music no matter what method we use to tension our strings. Michael On Sat, Feb 11, 2017 at 5:53 PM Charles Mokotoff <[1]mokot...@gmail.com> wrote: Seems we are about 50/50 split on the peghedz... FWIW, I have used this device: [1][2]https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/ B0019H 6750/ref=sr_1_1?ie=UTF8&qid=1486853424&sr=8-1& to get around the tedium of string changing, its sort of fun actually, and fits my pegs fine. Admittedly, once I got the set correct, I change lute strings very rarely. On Sat, Feb 11, 2017 at 5:10 PM, <[2][3]jsl...@verizon.net> wrote: Dear All, I really don't think the planetary tuning pegs are necessary for a lute with good-fitting pegs. I find that a small amount of violin "peg dope" -- the hard, waxy type, not the softer gooey type -- is all the help my lute and vihuela pegs need. On the other hand, I did get them installed on my cittern, and they are a godsend. So, like Ms. Carlin, I would recommend them for wire-strung instruments, which have greater tuning difficulties. Cheers, Jim Stimson On 02/11/17, Roman Turovsky<[3][4]r.turov...@gmail.com> wrote: A question for the Collective Wisdom: Looking for opinions on planetary tuners for lutes or vihuelas, cautionary tales, where to get them, which brands, how to install etc. Thank ye all, RT To get on or off this list see list information at [1][4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. [5][6]http://www.cs.dartmouth.edu/ -- References 1. [7]https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B00 19H6750/ref=sr_1_1?ie=UTF8&qid=1486853424&sr=8-1& 2. mailto:[8]jsl...@verizon.net 3. mailto:[9]r.turov...@gmail.com 4. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. [11]http://www.cs.dartmouth.edu/ -- Sent from Gmail Mobile -- References 1. mailto:mokot...@gmail.com 2. https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B0019H 3. mailto:jsl...@verizon.net 4. mailto:r.turov...@gmail.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/ 7. https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B0019H6750/ref=sr_1_1?ie=UTF8&qid=1486853424&sr=8-1&; 8. mailto:jsl...@verizon.net 9. mailto:r.turov...@gmail.com 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 11. http://www.cs.dartmouth.edu/
[LUTE] Re: Audio recordings of "Anonymous" music
Best thing to do is ask Miguel himself: [1]cont...@leluthdore.com Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [2]www.lutesocietyofamerica.org On Fri, Jan 13, 2017 at 10:31 AM, Jack <[3]jackyen...@gmail.com> wrote: I am wondering if anyone can help me find audio recordings for many of the beginner pieces In Miguel Yisrael's method for baroque lute book. I have found a few of them through searching on YouTube, but if anyone else has used this book and has some good recommendations on where to find the music , it would be most educational. There are tons of Anonymous pieces in this book and it is very hard to track some of them down. As always, any help would be greatly appreciated John Sent from my iPhone To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:cont...@leluthdore.com 2. http://www.lutesocietyofamerica.org/ 3. mailto:jackyen...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: P73 on Youtube
Just wanted to remind all lute teachers and others in the US that the Lute Society of America has rental lutes available. Renaissance (Descant and Tenor), Baroque, Archlutes, etc. are ready to rent. For details and to see the available instruments, go to the Lute Rental Program button at www dot lutesocietyofamerica dot org Michael Grant Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [1]www.lutesocietyofamerica.org On Sat, Oct 29, 2016 at 6:53 AM, Martin Shepherd <[2]mar...@luteshop.co.uk> wrote: Hi All, Francis just made a video of this piece, I hope you enjoy it! [3]https://www.youtube.com/watch?v=ZjY9wDOecwM Best wishes, Martin --- This email has been checked for viruses by Avast antivirus software. [4]https://www.avast.com/antivirus To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.lutesocietyofamerica.org/ 2. mailto:mar...@luteshop.co.uk 3. https://www.youtube.com/watch?v=ZjY9wDOecwM 4. https://www.avast.com/antivirus 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Attaingnant's Preludes, Chansons, and Dances
Book was published by Societe de Musique D'Autrefois in 1964. Edited by Daniel Heartz. Michael M. Grant, PhD Director, Lute Rental Program [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0&export=download] [1]www.lutesocietyofamerica.org On Sun, Sep 4, 2016 at 12:22 PM, Sean Smith <[2]lutesm...@gmail.com> wrote: Hi Michael, Is this a modern edition? Secourez moi is in Attaignant's "Tres breve et familiarea|" (1529) but there are no dances in the book. It would require a singer as well since most chansons are presented twice a once as Cantus-and-lute and again as a lute solo. Sean On Sep 4, 2016, at 8:09 AM, LSA Lute Rental Program <[3]lsaluteren...@gmail.com> wrote: >Does anyone know if there exists a recording of all the preludes, >chansons, and dances contained in Attaignant's Preludes, Chansons, and >Dances for Lute (1529-1530)? >I know individual pieces from this have been recorded, some innumerable >times, but I am wondering if there exists a recording of all the >pieces.For example, I am trying to find a lute only recording of one >of the chansons, Secourez moy (No. 22). But I am also interested in >recordings of the other pieces, esp. if they exist in one recorded >source. >Thanks, >Michael > >-- > > > To get on or off this list see list information at > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.lutesocietyofamerica.org/ 2. mailto:lutesm...@gmail.com 3. mailto:lsaluteren...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Attaingnant's Preludes, Chansons, and Dances
Does anyone know if there exists a recording of all the preludes, chansons, and dances contained in Attaignant's Preludes, Chansons, and Dances for Lute (1529-1530)? I know individual pieces from this have been recorded, some innumerable times, but I am wondering if there exists a recording of all the pieces. For example, I am trying to find a lute only recording of one of the chansons, Secourez moy (No. 22). But I am also interested in recordings of the other pieces, esp. if they exist in one recorded source. Thanks, Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] was Baroque guitar tablature - now follow a link
Hi Monica - The lute mail list robot often messes up links in the body of the message, but down at the bottom of the message is a âReferences: section with the correct link. The Referenced link just worked for me, but your mail reader might be different. http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg Wayne > Begin forwarded message: > > From: "mjlh...@tiscali.co.uk" > Subject: [LUTE] Re: Baroque guitar tablature > Date: September 1, 2016 at 4:43:01 AM EDT > To: > Cc: LutList > > > Can't actually access the page you have given. However I have a copy > of the ms. > > The vertical dasshes below and above the highest line indicate the > strumming. Down from the line is a bass to treble stroke and up from > the line is a treble to bass stroke. > The open courses should be included in the chords provided that they > belong to the basic triad. They don't include the "As" unless this is > essential to make sense. > A dot after a stroke may indicate that it is a dotted note - but I > can't see which specific piece you are referring to. > An x is usually a descending appoggiatura from the note above. > Oblique dashes below the stave usually mean that the chord is to be > sustained. > If you can tell me the page number or the title of the specific pieces > I might be able to shed a bit more light. > BEst > Monica > Original Message > From: al...@musickshandmade.com > Date: 01/09/2016 8:05 > To: "Lute List" > Subj: [LUTE] Re: Baroque guitar tablature > > I am hoping someone can help me understand some of the symbols on this > piece of Baroque guitar tablature - maybe Monica? > Here is a facsimile copy: > [1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page > > _0205.jpg > 1 ) Small vertical dashes above the first line: I understand this is > an > indication of strumming with the hand from the bottom up - or is it > the > other way? > 2) The dots after a vertical dash - like this "|." : is that a > dotted > (invisible) flag value -- or a bar line -- or? > 3) the 'x' - often following the dotted dash mentioned above: a > shake > or mordent??? If so it looks a little far away from its note... > 4) the 'y' that looks like the 'x' described above but more like a > 'y' > (or a 'v') and bigger: > 5) Oblique dashes on the first and/or 5th line: no idea what these > are... > I am also kind of wondering if open strings are not sort of implied > within a chord ... > Any help on any of the above appreciated. To me, it looks like > pretty > amazing short-hand from someone who knew the instrument extremely > well... > Alain > -- > > References > > 1. > http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > --
[LUTE] Re: Cayphas?
Thank you all for replying so promptly. 'Caiaphas'... now it looks obvious.. I should have asked earlier..! >which is devoted to Martini's chansons. The notes from that volume might be of immense value in determining why this chanson was named Cayphas. That is exactly what I wanted to know. Thank you so much again, William. Tomoko 2016/08/30 1:27 "William Brohinsky" <[1]tiorbin...@gmail.com>: Hi Tomoko, I would suggest that Cayphas is Caiaphas, i.e. Joseph Caiaphas, who was Chief Priest of the Temple of Jerusalem in the time of Christ. My supporting information would be Play 29 from the York Corpus Christi plays, "the Trial before Cayphas and Anna". By all appearances, Anna is Annas, specifically Annas, son of Seth, installed by Quirinus (Roman Governer of Syria) as High Priest in 6CE. He held the office until deposed by Valereus Gratus, Procurator of Judea, in 15CE. Despite having been removed from the office, he retained significan power and wealth, which could well have paved the way for his son-in-law Joseph Caiaphas (Cayphas) to become High Priest in 27CE. Caiaphas held office until 37CE, which placed him in the position of Religious Leader of the Jews in 33CE, when Jesus was tried for Blasphemy. The Bible records, all told, three trials: First in the house of Caiaphas, with all of the Pharasees and Scribes present. Then, he is taken before "the High Priest", with no specification: this is believed to be Annas, who had been appreciated by the Pharasees and was still, by some, seen as the 'real' high priest (in light of his deposing by a Roman procurator, despite that he was installed by a Roman Governer!). In the morning, Jesus was brought before the Chief Priests and Scibes, who formed a delegation to take him before Pilate. Play 29 of the York Corpus Christi Plays is believed to have been written in the early 1400's, possibly after 1405 as a reflection, in part, of the "legal irregularities" of the Trial of "the popular Archbishop Scrope" (quotes from the notes at [2]http://d.lib.rochester.edu/teams/text/davidson-play-29- the-trial-before-cayphas-and-anna). Johannes Martini is dated as living from ca. 1440 - ca. 1498. It is likely that Caiaphas was regularly referred to as "Cayphas". The piece (which can be viewed on IMSLP but is public domain everywhere but the US) may have first been found in a collection of chansons celebrating the marriage of Isabella d'Este to Francesco Gonzaga (I haven't been able to find a specific provenance) and was first published in recent times in Volume 1 of "Recent Researches in the Music of the Middle Ages and Early Renaissance" (M001) which is devoted to Martini's chansons. The notes from that volume might be of immense value in determining why this chanson was named Cayphas. (It is still available, 47USD from [3]http://www.areditions. com/martini-secular-pieces-m001.html). As for other pieces by Martini, three of his chansons appear in Harmonice Musices Odhecaton, printed by Petrucci (first book of polyphonic music printed with movable type): La fleur de biaulte, Fault il que beur Soy, and Nenccioza: the editor preserved much music of the previous century in Odhecaton. Martini wrote masses on many popular themes, and his antiphonal settings of psalms may well have established the style which was made popular by Willaert in Venice in the middle-16thC, and brought to the German states where it is documented (amply) by Praetorius in his 3-volume Syntagma Musicum and compositions. On Mon, Aug 29, 2016 at 11:00 AM, Tomoko Koide <[4]lutenist.mumin.ko...@gmail.com> wrote: Dear LSA collective wisdom, Could anyone help me identifying who "Cayphas" is? This is only the piece I know of Johannes Martini's and I've been wondering who it is, or what it is.. Regards, Tomoko Koide 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:tiorbin...@gmail.com 2. http://d.lib.rochester.edu/teams/text/davidson-play-29-the-trial-before-cayphas-and-anna 3. http://www.areditions.com/martini-secular-pieces-m001.html 4. mailto:lutenist.mumin.ko...@gmail.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Io non compro la speranza
Does anyone have tab for Marchetto Cara's Io non compro la speranza? Thanks, Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Crawford Young is visiting the San Francisco Bay Area.
(forwarded message, reply to Mike) Dear Ones, Crawford Young is visiting the San Francisco Bay Area. You are all invited to my house Saturday April 2, at 1pm for an open house to greet Crawford, have a lute party and see a slide show on Crawfordâs PhD project on researches into the Early Cittern. My address is 4118 Peregrine Way, Pleasanton CA. This is Crawfordâs only visit to the USA and the Bay Area this year. Crawford will be staying here for 3 weeks and will be leaving on April 18th. During this time he will be available for lute lessons and ensemble coaching either at my house or at yours, if you are in the Bay Area. This is an ideal time to make connections and arrangements. If you wish to contact him directly you can email or text message Crawford at crawl...@hotmail.com <mailto:crawl...@hotmail.com>, or Mike Peterson at mb...@comcast.net <mailto:mb...@comcast.net>. Crawford is interested in doing a lute concert towards the end of his stay, but we have not yet made any arrangements yet. Last year we had the concert at Ifshin Violins in El Cerrito, which was a success. Is there any interest in arranging a house concert locally on Saturday April 16? If so, let me or Crawford know. Mike Peterson -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Score for Robert de Visee's Chaconne in G?
--001a1140be9285612b052ef85117 Content-Type: text/plain; charset=UTF-8 I am sure you already have the tablature for theorbo of the Chaconne from the Saizenay MS (attached). Because I wanted to see how it could be transposed to play on a 10 c Ren lute, I asked Eduardo Eguez, in his class on de Visee' at the June 2015 LSA Summer Seminar to help. We spent a class transposing it to some semblance of what could be played on a 10c Ren lute. I have photographs of the white boards on which we wrote the modern staff notation if no one else can give you anything. I think I may also have the French tab in a cleaned up version of if for a Ren lute in g. But be warned: it does not sound like Xavi's rendition. Partly because it was for theorbo and partly because Xavi is such a fantastic player. Michael Michael M. Grant, PhD Director, Lute Rental Program www.lutesocietyofamerica.org On Sat, Mar 26, 2016 at 2:09 PM, Peter Kwasniewski < peter.kwasniew...@wyomingcatholiccollege.com> wrote: >We are looking for a score (modern notation) of de Visee's Chaconne in >G -- the one being played here: >[1]https://www.youtube.com/watch?v=LO_jpR04Hfo >Has anyone seen this? We've searched online for it already and turned >up nothing yet. >-- >Peter A. Kwasniewski >Wyoming Catholic College >306 Main Street, Lander, WY 82520 >College offices: (307) 332-2930 >My direct line: (307) 335-4418 >Websites: >[2]Wyoming Catholic College >[3]The Aquinas Institute >[4]Catholic Social Teaching >[5]Sacred Music > >-- > > References > >1. https://www.youtube.com/watch?v=LO_jpR04Hfo >2. http://www.wyomingcatholiccollege.com/ >3. http://www.theaquinasinstitute.org/ >4. http://www.thomasstorck.org/ >5. http://www.ccwatershed.org/kwasniewski > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --001a1140be9285612b052ef85117 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable I am sure you already have the tablature for theorbo of the Chaconne from the Saizenay MS (attached).Because I wanted to see how it could be transposed to play on a 10 c Ren lute, I asked Eduardo Eguez, in his class on de Visee' at the June 2015 LSA Summer Seminar to help. We spent a class transposing it to some semblance of what could be played on a 10c Ren lute. I have photographs of the white boards on which we wrote the modern staff notation if no one else can give you anything. I think I may also have the French tab in a cleaned up version of if for a Ren lute in g. But be warned: it does not sound like Xavi's rendition. Partly because it was for theorbo and partly because Xavi is such a fantastic player.MichaelMichael M. Grant, PhDDirector, Lute Rental Programhttps://docs.google.com/uc?export=download&id=0BywMNZPGnsKPTEQ3Q19lb3VlMWc&revid=0BywMNZPGnsKPaTFCaDB5S3haUW1lWUFyWERrNnhGWSsvNk5RPQ"; height="68" width="124">http://www.lutesocietyofamerica.org"; target="_blank">www.lutesocietyofamerica.org On Sat, Mar 26, 2016 at 2:09 PM, Peter Kwasniewski <mailto:peter.kwasniew...@wyomingcatholiccollege.com"; target="_blank">peter.kwasniew...@wyomingcatholiccollege.com> wrote:  We are looking for a score (modern notation) of de Visee's Chaconne in   G -- the one being played here:   [1]https://www.youtube.com/watch?v=LO_jpR04Hfo"; rel="noreferrer" target="_blank">https://www.youtube.com/watch?v=LO_jpR04Hfo   Has anyone seen this? We've searched online for it already and turned   up nothing yet.   --   Peter A. Kwasniewski   Wyoming Catholic College   306 Main Street, Lander, WY 82520   College offices: (307) 332-2930   My direct line: (307) 335-4418   Websites:   [2]Wyoming Catholic College   [3]The Aquinas Institute   [4]Catholic Social Teaching   [5]Sacred Music   -- References   1. https://www.youtube.com/watch?v=LO_jpR04Hfo"; rel="noreferrer" target="_blank">https://www.youtube.com/watch?v=LO_jpR04Hfo   2. http://www.wyomingcatholiccollege.com/"; rel="noreferrer" target="_blank">http://www.wyomingcatholiccollege.com/   3. http://www.theaquinasinstitute.org/"; rel="noreferrer" target="_blank">http://www.theaquinasinstitute.org/   4. http://www.thomasstorck.org/"; rel="noreferrer" target="_blank">http://www.thomasstorck.org/   5. http://www.ccwatershed.org/kwasniewski"; rel="noreferrer" target="_blank">http://www.ccwatershed.org/kwasniewski To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --001a1140be9285612b052ef85117-- --
[LUTE] Correction
Mistake in previous email: the LLD Baroque is 13 c not 11 c. Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Sampling
I have learned that the new lute producing company, Le Luth Dore' (LLD) will have its new 11c Baroque lute prototype available for anyone to try on Feb 10 in New York city at the Harvard Club. I have been told that anyone who wants to try it should contact LLD at [1]cont...@leluthdore.com Michael -- References 1. mailto:cont...@leluthdore.com 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 - Pitch
Thanks William, I believe this tidbit of information came from Arthur A. Reblitz's book, Piano Servicing, Tuning and Rebuilding. Can't remember for sure. I will be the first to admit that this could be mis-information also! Thanks again, Tom Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Jan 18, 2016, at 1:27 PM, William Brohinsky wrote: > Is there a reference for these dates/numbers, especially the claim that A440 > was 'set' in 1916 for American Standard Pitch for pianos? > > In 30 years of piano tuning, I've seen many claims, but I am unaware of an > American organization with the power to declare standard pitch for pianos > operating before the International Organization for Standards (the dyslexic > ISO) meetings in 1938 and 1939 (dates muddied by the generally poor accuracy > of Groves 2), and even then, ISO had to re-affirm A440 in 1959 and 1979, > apparently because a lot of organizations weren't willing to give up that > little bit of "brightness" that tuning a few Hertz higher brings. > > Scheibler, credited with the invention of tuning forks, recommended A440.0, > and the Deutsche Naturforscherversammlung established that as the German > Standard in 1834. Steinway's pitchforks indicate that they favored A454.7 in > London and 457.2 in NY in 1897. > > The French government decreed that A435 was standard for that nation in 1859. > This was supposed to be a compromise between the extremes of A450, favored by > instrumentalists for brightness, and singers, who preferred A422. In England, > near the end of the 19th century, the London Royal Philharmonic Society > jiggered the numbers for a higher standard pitch, since France had specified > a specific build of oboe, playing A in a room at 59degF. They calculated that > a piano, tuned to that pitch, but operating at "normal" room temperature of > 68degF would rise to 438.9Hz, so when 1900 rolled around, A435 and A439 were > standards in France and England, respectively. > > Cavanaugh makes the claim that the Broadcasting industry in Europe and the US > pushed for an A440 standard, based on the BBC's use of a 1MHz oscillator, > torturously reduced to 1KHz by dividers, then multiplied by 11 and divided by > 25 to arrive at a stable 440Hz pitch (in a quote attributed to Llewelyn S. > Lloyd). He allows that the BBC's affection for this pitch standard may not > have had as much effect as Lloyd seems to indicate. > > Generally speaking, I've found that pianos built before 1940 tend to > gravitate to A438 even when tuned above or below that pitch, and have read > numerous articles intended for piano tuners (none of which I still have) > claiming that before the ISO proclamation, A438 was the preferred pitch for > American piano makers. Whether that is true or not, I can't find any official > organization which selected A440 before the ISO meetings of 1938 and/or 1939. > > So ... Who set A440 as standard for American Pianos in 1916? > > On Sun, Jan 17, 2016 at 8:35 PM, Lute List wrote: > Resent without "equal" signs: > > On Jan 17, 2016, at 2:09 PM, Lute List wrote: > > I have been restoring an early square piano by Chickering > circa 1840. > In my communications with other piano techs and my research, > I have found that pitch, even in the 19th century, varied wildly. > The 1840 Chickering, one of the very first pianosto incorporate > a full cast metal plate, was designed to be tuned at A 430. > By the 1870's pitch had risen to as high as 465! > And, of course, it was different in Europe than in the US. > There is a LOT of mis-information in the A 432 arguments, > including that it was the Nazis who insisted on 440. NOT TRUE. > American standard pitch for pianos was set at 440 in 1916, and > all pianos with full (not victorian) cast plates have been designed > in the US to be tuned at A 440 ever since. > There has always been a quest for brighter and louder tone. > Increasing string tension does this. But is happens with wind > instruments as well. Scottish Highland Pipes were at one time > pitched in A, and over a few hundred years have been raised to Bb. > So - just tune your lute 'til your (gut) 1st string breaks, all the > while looking at a meter, then back it off 1 Hz. I'm sure it will be > resonant with the cosmos :) > -- > > 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 - Pitch
Resent without "equal" signs: On Jan 17, 2016, at 2:09 PM, Lute List wrote: I have been restoring an early square piano by Chickering circa 1840. In my communications with other piano techs and my research, I have found that pitch, even in the 19th century, varied wildly. The 1840 Chickering, one of the very first pianosto incorporate a full cast metal plate, was designed to be tuned at A 430. By the 1870's pitch had risen to as high as 465! And, of course, it was different in Europe than in the US. There is a LOT of mis-information in the A 432 arguments, including that it was the Nazis who insisted on 440. NOT TRUE. American standard pitch for pianos was set at 440 in 1916, and all pianos with full (not victorian) cast plates have been designed in the US to be tuned at A 440 ever since. There has always been a quest for brighter and louder tone. Increasing string tension does this. But is happens with wind instruments as well. Scottish Highland Pipes were at one time pitched in A, and over a few hundred years have been raised to Bb. So - just tune your lute 'til your (gut) 1st string breaks, all the while looking at a meter, then back it off 1 Hz. I'm sure it will be resonant with the cosmos :) -- 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 - Pitch
Thanks Wayne, and apologies for my ignorance. I'll re-send Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Jan 17, 2016, at 4:42 PM, wayne cripps wrote: > Hi Tom , and everyone else > > The lute list is set up to unpack" messages that have been "packed up" > for travel by your computer. One system of packing" text is called > quoted-printable, and it uses an equals sign followed by a number to > represent special characters and numbers. So when you write about a > pitch using A 440 and you computer sends it off as > quoted-printable the lute list robot interprets that as a hex number > like D0. If you write A 440 it will stand a better chance of getting > through. Or you could try to set up your mail program to avoid using > any special formatting, though that could be tricky. > > Wayne > > >> The 1840 Chickering, one of the very first pianos >> to incorporate a full cast metal plate, was designed to be tuned >> at AC0. > >> There is a LOT of mis-information in the AC2 arguments, > >> including that it was the Nazis who insisted on 440. NOT TRUE. >> tuned at AD0 ever since. > > > > > 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 - Pitch
I have been restoring an early square piano by Chickering circa 1840. In my communications with other piano techs and research, I have found that pitch, even in the 19th century, varied wildly. The 1840 Chickering, one of the very first pianos to incorporate a full cast metal plate, was designed to be tuned at AC0. By the 1870's pitch had risen to as high as 465! And, of course, it was different in Europe than in the US. There is a LOT of mis-information in the AC2 arguments, including that it was the Nazis who insisted on 440. NOT TRUE. American standard pitch for pianos was set at 440 in 1916, and all pianos with full (not victorian) cast plates have been designed in the US to be tuned at AD0 ever since. There has always been a quest for brighter and louder tone. Increasing string tension does this. But is happens with wind instruments as well. Scottish Highland Pipes were at one time pitched in A, and over a few hundred years been raised to Bb. So - just tune your lute 'til your (gut) 1st string breaks, all the while looking at a meter, then back it off 1 Hz. I'm sure it will be resonant with the cosmos :) Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Jan 16, 2016, at 10:46 AM, Leonard Williams wrote: > A late response to this thread, but I found this discussion/article; > > http://www.viewzone.com/432hertz222.html > > Not all that scientific, I don't think, but there's information to think > about. > > Regards, > Leonard Williams > > On 12/12/15, 12:21 PM, "Edward Martin" behalf of edvihuel...@gmail.com> wrote: > >> Nice article, Ron. >> I agree, in that there is no definitive pitch. We seem to have >> settled on 440 vs. 415 as standards of modern vs baroque, but what >> about 460, or 392? With the lute, a few sources state to tune the >> treble to just before it breaks, and that is where one starts. >> I am wondering, has anybody on the list read some of the arguments >> about changing the modern pitch standard as a + 432? >> ed >> >> On Sat, Dec 12, 2015 at 7:27 AM, Ron Andrico <[1]praelu...@hotmail.com> >> wrote: >> >> We have posted our Saturday morning quotations, this week on pitch >> standards. >> [1][2]http://wp.me/p15OyV-1qB >> Ron & Donna >> -- >> References >> 1. [3]http://wp.me/p15OyV-1qB >> To get on or off this list see list information at >> [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> -- >> >> References >> >> 1. mailto:praelu...@hotmail.com >> 2. http://wp.me/p15OyV-1qB >> 3. http://wp.me/p15OyV-1qB >> 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > > --
[LUTE] Re: Performing lute in ensemble
As someone with a PhD in Clinical Psychology and a licensed psychologist, I can tell you that if she wants to make ends meet, psychology is not the career by which to achieve that goal. Once was, sadly no longer... Let's hope she keeps playing, though, as we need new blood. I wish there were more career options for young lutenists...and older ones too! Michael Michael M. Grant, PhD Director, Lute Rental Program [uc?export=download&id=0BywMNZPGnsKPTEQ3Q19lb3VlMWc&revid=0BywM NZPGnsKPaTFCaDB5S3haUW1lWUFyWERrNnhGWSsvNk5RPQ] [1]www.lutesocietyofamerica.org On Wed, Dec 30, 2015 at 8:07 PM, Dan Winheld <[2]dwinh...@lmi.net> wrote: Or maybe it is for her musical vocation- after 40 years (off & on) in the music biz. a psychology degree would undoubtedly have aided me immeasurably in knowing how to get along with singers, conductors and other musicians, as well as students, agents, scholars, and all the rest. Yes, nice performance, too. The playing position is exactly the way modern Pipa players hold their instruments- and indeed most Baroque lutenists seem to hold much more vertically than I can. Tried it, under instruction from both Smith and North (with that confounded butt-strap arrangement) -couldn't stand it. I much prefer the Charles Mouton position, more or less- but my RH isn't quite as close to the bridge as his is. Dan On 12/30/2015 4:12 PM, John Mardinly wrote: I thought this was a really nice performance also. I had to look on the web site for the lutenist, Hana Alivodic, and learned that she was a student of Hopkinson Smith, but is now studying psychology. Too bad someone that good needs another profession, presumably to help make ends meet. A. John Mardinly, Ph.D., P.E. Principal Materials Nanoanalysis Engineer EMail: john.mardi...@asu.edu Cell: [3]408-921-3253 (does not work in TEM labs) Titan Lab: [4]480-727-5651 NION UltraSTEM Lab: [5]480-727-5652 JEOL ARM 200 Lab: [6]480-727-5653 2010F Lab: [7]480-727-5654 Office: [8]480-965-7946 John Cowley Center for HREM, LE-CSSS B134B Bateman Physical Sciences Building Arizona State University PO Box 871704 Tempe, AZ 85287-1704 -Original Message- From: [9]lute-...@cs.dartmouth.edu [mailto:[10]lute-...@cs.dartmouth.edu] On Behalf Of Mathias RAP:sel Sent: Monday, December 28, 2015 11:14 AM To: 'Lute List' Subject: [LUTE] Re: Performing lute in ensemble Thx for sharing this, GA,ran! The lute is astonishingly loud! Mathias -UrsprA 1/4ngliche Nachricht- Von: [11]lute-...@cs.dartmouth.edu [mailto:[12]lute-...@cs.dartmouth.edu] Im Auftrag von G. C. Gesendet: Montag, 28. Dezember 2015 01:43 An: Lute List Betreff: [LUTE] Re: Performing lute in ensemble This little 18 min. concert puts at odds the foregoing "play at the bridge" approach as well as questions the volume problematics. But its a "small venue". And unusual playing position? Karl Ignaz von Kohaut (1726-1784) - Concerto No. 1 F-dur [1][13]https://youtu.be/ZhIpCdu4ctU -- References 1. [14]https://youtu.be/ZhIpCdu4ctU To get on or off this list see list information at [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.lutesocietyofamerica.org/ 2. mailto:dwinh...@lmi.net 3. tel:408-921-3253 4. tel:480-727-5651 5. tel:480-727-5652 6. tel:480-727-5653 7. tel:480-727-5654 8. tel:480-965-7946 9. mailto:lute-...@cs.dartmouth.edu 10. mailto:lute-...@cs.dartmouth.edu 11. mailto:lute-...@cs.dartmouth.edu 12. mailto:lute-...@cs.dartmouth.edu 13. https://youtu.be/ZhIpCdu4ctU 14. https://youtu.be/ZhIpCdu4ctU 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Performing lute in ensemble
To go in a completely different direction, one of the items sold on my âlutes for saleâ web page was a lute-banjo. (The owner made it as a travel instrument.) I bet that if you could put a lute neck on a Mastertone style pot you could keep up with modern strings! Wayne > Begin forwarded message: > > From: Daniel Shoskes > Subject: [LUTE] Performing lute in ensemble > Date: December 27, 2015 at 7:43:13 AM EST > To: Lute List > > Dear list: Iâve been having fun with the Lauffensteiner g minor > âconcertoâ (andante:https://youtu.be/q9dV2QbcBc8 > <http://youtu.be/q9dV2QbcBc8>). In the Brussels Ms it has parts for 2 violins > and 1 cello (OK, 2 treble clef instruments and a bass clef instrument with > figures). In performance of pieces like this, how do people handle balance of > instruments? Clearly having the other instruments in gut would help but > itâs still a struggle to have the lute loud enough in comparison with the > strings. Mics? Mutes? Just play as loud as you can all the way through? > > Thanks > > Danny > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Robert Cooper
I am in the process of selling a lute to a fellow who already owns one made by a luthier name Robert Cooper. He is asking me about Cooper and if I know anyone who also has a lute made by him. I told him I knew nothing but would ask on the listserve. If you have a lute made by Cooper or can share some info about him, please respond and I will pass this on to the fellow. Thanks, Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Wetting Fingers
Every month I try to send all the renters of Lute Society of America lutes a little info on some topic. The one I am doing a bit of research on now is the practice of wetting right hand thumb, index, and middle fingers before playing the lute. I am sure this has been a past topic and am sure there are lots of opinions out there about this. That is, actually, why I am asking for your thoughts. Some lutenists "fog" their fingers, some wet them, some wet them and rub their fingers against their nose to collect oil, some use lotion or mineral oil or Vaseline, some do other things, some do nothing and play with dry fingers. Can you offer me any history about any of these practices, any information, pros/cons, advantages/disadvantages, issues of string type (gut, Nylgut, nylon, etc.)? I am not taking a position on the issue...I am just gathering information and whatever you can share is appreciated. Thanks, Michael Grant -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] OT - Banjo String Tension and Diameter
Dear Collective Wisdom, I play a variety of instruments with frets and strings. In addition dabbling in Renaissance Lute, I play 5 string banjo. I want to tune one of my banjos down a fourth for matching a comfortable vocal range for accompanying some songs that I perform. Would any of you Physics Professor types out there be willing to help me with calculating the best string diameter, in thousandths of an inch, for steel strings in the following lengths (in inches) and pitches? (4 string would be wound, 3rd could also be wound 1,2 and 5 should be plain) Many thanks in advance, 1st 26 7/16. A3220Hz 2nd 26 1/2. F#3 185Hz 3rd 26 9/16. D3 146.8Hz 4th 26 1/2. A2 110Hz 5th 26 7/16. D4. 293.6Hz Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 716-682-9362 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Dante
Dear collective wisdom, Does anyone know any music concerns Dante Alighieli, or anything related to his birthplace Florence, hopefully suitable to play with a single lute? Regards, Tomoko Koide -- 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 - Lutes and brains
Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 716-682-9362 On Aug 29, 2015, at 4:29 PM, howard posner wrote: > >> On Aug 29, 2015, at 1:16 PM, David van Ooijen >> wrote: >> >> James Joyce entertained the thought of playing the lute, of course, so >> he should, it was the fashion of the time to entertain this thought, >> but did not play the lute. > > And apparently didn’t play guitar terribly well either. Neither do I … To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes and Pitchforks
I prefer the trident ... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[no subject]
0 To: Louis Aull Cc: lute@cs.dartmouth.edu From: timothy swain Subject: [LUTE] Re: Christmas Music Status: O What a heart-warming message! Bravo! And indeed a Merry Christmas... Tim On Mon, Dec 22, 2014 at 5:39 AM, Louis Aull wrote: >Performed the Messiah twice yesterday. This morning my fingers and my >butt are still sore and I can't get the sounds of the Messiah out of my >head. What a wonderful Christmas gift. > > >Merry Christmas everyone. > > >Louis Aull > >-- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Single versus triple roses
Herbert - I think that a string has many resonant narrow frequencies, all musically related to each other. A cymbal has many narrow resonant frequencies, all *not* musically related to each other. So our ears do not add them up into one musical note. But the cymbal does resonate. Wayne > Begin forwarded message: > > > From: Herbert Ward <mailto:wa...@physics.utexas.edu>> > Subject: [LUTE] Re: Single versus triple roses > > As an exercise, I pose this question. A cymbal has no definite > pitch, but it rings for a long time. So it does not follow the > rules below. Why? > > > On Sat, 29 Nov 2014, Herbert Ward wrote: > >>> But I invite all you proper physicists out there to explain why! >> >> I have a PhD in experimental physics. >> >> The term "resonant frequency" is a bit complicated. >> >> A string has a "resonant frequency" (its pitch). >> But a string's resonant frequency is obviously different from >> a lute's "resonant frequency". For when I tap my lute, it does not >> ring at a specific pitch like (F# or Bb or 413.7 Hz). >> >> A lute's resonant frequency is very broad (I guess several octaves). >> A string's resonant frequency is very narrow (I guess 0.5 Hz). >> >> As the math works out: >> lute haves a broad resonant frequency = short ring time >> string haves a narrow resonant frequency = long ring time >> >> The physical difference is how much "damping" there here. >> You can google "damped harmonic oscillater" for more info. >> >> Many factors apply to both lutes and strings: >>1. lighter = higher pitch >>2. stiffer = higher pitch >>3. heavier = lower pitch >>4. looser = lower pitch >> >> As to why a smaller rosette makes a lower pitch, I'm not sure. It >> might be simply because the is more mass in the soundboard (#3 above). >> Or it might have be related to how wooodwind sound holes work. Or maybe >> both. An experiment to resolve the question would, I'm afraid, involve >> the destruction/degradation of the soundboard on a good lute. >> >> >> >> 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] Vivaldi complete lute works
Dear collective wisdom of lutenists, Could anyone let me know where I can get this publication? [1]http://issuu.com/emotiv/docs/vivaldidemo I found this thread in the mail-archive but the last question does not seem to be answered yet. [2]https://www.mail-archive.com/lute%40cs.dartmouth.edu/msg37280.htm regards, Tomoko Koide -- References 1. http://issuu.com/emotiv/docs/vivaldidemo 2. https://www.mail-archive.com/lute%40cs.dartmouth.edu/msg37280.htm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: those Pignoses!
Begin forwarded message: > From: howard posner > >> My Pignose Hog 30 >> is my go to amp for playing at outdoor events! (along with a Sennheiser >> microphone and a line adaptor) > > Hows the bass response? Does it make a lute sound like a lute? > I used to use the original model in my electric days, though I cant for the > life of me remember what I used it for. > The Hog 30 is designed for bass, so it is clean and has much better bass than the little Pignose. It is over a foot tall, so not as portable as the little one, but has big rechargeable batteries that last a long time, and if what goes in sounds like a lute, what comes out sounds like a lute. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] please edit the message you are replying to
Hi People - I would like to request that when you reply to one point in a long posting you edit the posting to remove the parts that you are not replying to. For example, in Nancy's reply to Ernesto's message she is referring to one comment he made, and I can't find that comment in his long message (or I am not willing to put that much effort into finding it.) Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Trond and Ernst
Trond and Ernst are at it again. Here is Trond http://www.youtube.com/watch?v=WjuEBp-QPk0 Here are both Trond and Ernst, I'm hoping they do a CD of these. http://www.youtube.com/watch?v=CxPaTgCB-gw&feature=share http://www.youtube.com/watch?v=0-AnOkJzp2w http://www.youtube.com/watch?v=ODm9QCc-_tQ http://www.youtube.com/watch?v=quJ9Tx8leHY http://www.youtube.com/watch?v=CxPaTgCB-gw&feature=related http://www.youtube.com/watch?v=9c1GmortSk8 http://www.youtube.com/watch?v=WjuEBp-QPk0 Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantiga 292 with Trond and Ernst
This is really lovely http://www.youtube.com/watch?v=x1-vD9dcvss&feature=feedu Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Sally Gardens
Sally Gardens from my book "The Magic Lute" performed by Trond Bengtson, this is really a wonderful wonderful performance of my arrangement and variation. Thank you so much for posting this Trond. http://www.youtube.com/watch?v=7vgWcrEbIpE Allan www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Duet on Youtube
Dear Friends, Here is Blind Mary performed by with Ernst Stolz and Trond Bengtson. It is from my book of Duets for Lute and Recorder. The recorder part has obviously been put down, but I think it sounds wonderful http://www.youtube.com/watch?v=IXFyS9-qsvg&feature=feedu Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Trond Bengtson
Trond Bengtson has uploaded a couple of very nice videos. One titled "A Ronde for Spring" which I wrote for Betsy Small (hi Betsy) and Carolan's Lament. You can see them both at the links below. http://www.youtube.com/watch?v=RiWow-E70VA http://www.youtube.com/watch?v=RtLTvPtznjA Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Kilt Thy Coat Maggie
Kilt Thy Coat Maggie played by Trond Bengtson. From my book/cd "The Magic Lute." Nice work Trond. http://www.youtube.com/watch?v=m4Wo6URUx8c Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] God Rest Ye Merry....
Beautiful performance of God Rest Ye Merry Gentlemen from my Christmas lute book by Trond Bengtson, there are also many others there from the same Book/cd http://www.youtube.com/watch?v=1mhri4SP3U0 And if you can put up with the guitar, check this out, there are some awesome pictures of MT Lemmon in AZ http://www.youtube.com/watch?v=9AlBNR-0DcQ Allan www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Christmas Luste Youtube
Trond Bengtson has done a beautiful Video of Down in Yon Forest from my Book/CD "The Christmas Lute." http://www.youtube.com/user/trolabe#p/u/6/luRYNA9oqpY I wrote the intro which is used throughout the piece and also a variation, Beautiful Playing Trond. You really have put your fingers on the pulse of this piece, Allan Alexander http://www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] My Own True Love
Trond Bengtson has done a very nice Video of my piece, "My Own True Love" on Youtube http://www.youtube.com/watch?v=W-E0Pa35Eyk Trond is an excellent player and has many videos of lute pieces, and also those for Baroque guitar. My Own True Love is from the Book/CD "The Magic Lute." He has also has a video of "Heartland Air" which I send out via the postal service free to anyone who requests it Allan Alexander www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
For the record, the money is that ASCAP and the other agencies collects is also for airplay on the radio, and they both have different ways of the checking what is being played. The money is then distributed to the composers of the music, minus operating fees of course. If you are a composer and register, you receive money for your work Allan > Thanks Ron. > For the record: > In the US: ASCAP, BMI, etc. have managed to get laws passed that require > any restaurant, > pub / bar, theatre, public building, etc. ad nauseum, that plays any kind of > music whatsoever > in it's building(s), to pay them an annual fee for the privilege of playing > said music. > Businesses cannot operate (legally) without paying these fees. These fees > are hundreds of > dollars per year per business, multiplied by how many restaurants, etc. in > the US?? This > supposedly covers the singing of Happy Birthday at a party, the playing of > "1001 Strings" > doing "In My Life", etc., etc. > It's a racket (or is that "raquet"?). > So - when you sing "Hey Jude" or "Why Don't We Do It In The Road?" in the > mens' room, > it's covered ... at least in the US. > No worries ; 0) > Tom > > IMHO A lute-tablature transcription will not convince a judge that it > > is a copy of modern printed sheet-music. He will compare the two and > > say, 'It looks nothing like it'. Case dismissed. > > > > How will a public performance be judged in court against a copyrighted > > song? Will the judge listen to the lute-player and the infringed > > recording in court? > > > > > > Simply whistling tunes whilst walking down the street will infringe > > copyrights. - Mind you, I have heard some whistlers that want locking > > up! > > > > IMHO Copyrighted music should ONLY require the owner's approval when a > > recording is made to be marketed, not before. Public performance alone > > will not count. This would remove all the stupid bureaucracy. > > > > > > Best Wishes > > Ron UK > > > > -Original Message- > > From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On > > Behalf Of Guitar & Lute Sent: Thursday, October 21, 2010 12:30 PM To: > > lute@cs.dartmouth.edu Subject: [LUTE] Re: In My Life Copyright Issue > > What is Copyright Infringement? > > > > Hi Tom, > > > > Just to help you out here since apparantly you have your idea of what > > copyright law is, here is a link and a quote from the US copyright > > office. > > > > "What is copyright infringement? > > > > As a general matter, copyright infringement occurs when a copyrighted > > work is reproduced, distributed, performed, publicly displayed, or > > made into a derivative work without the permission of the copyright > > owner." > > > > See it yourself, > > > > http://www.copyright.gov/help/faq/faq-definitions.html > > > > Allan > > > > www.guitarandlute.com > > www.mandolinandguitar.com > > www.fluteandguitar.com > > > > > > > > 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.heartistry.com/artists/tom.html > 714 9th Avenue West > Ashland, WI 54806 > 715-682-9362 > > www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Interesting Story about Copyright
Since people have sent some links, here is one for you all to read. http://www.jasonrobertbrown.com/weblog/2010/06/fighting_with_teenagers _a_copy.php Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] New Law
Lets just pass a law that says after we make millions, it's ok for people to steal from us, it would be a better world then. http://www.starvingtheartist.com/ Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. "What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner." See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. "What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner." See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue
Hi Tom, It is illegal. Doesn't matter if you are selling it. there are plenty of people giving my things away. go check with a copyright lawyer, and if you really don't think it's illegal, ASK THE OWNER OF THE COPYRIGHT. That is how things are done. It's not a grey area, it's just a self serving point of view. I always find these self serving rationalizations humorous. Allan > > Probably pointless to point out that this is copywritten material. > > The melody that is, and it's illegal to post this. > > Allan > Thanks Allan, > I don't believe this is illegal for the following reasons: > Yes, it IS a copyrighted melody, but I'm not selling it. > Neither am I recording it, nor selling a sound recording > containing it, nor reproducing an existing version of it that > is already copyrighted. > At any rate, if the agency that administers the copyright > on this song sees fit, they can send me a "cease and desist" > notification, and I will promptly remove it from my webpage. > This is one of those "grey areas" of copyright law, primarily > because it is not being sold. Certainly less onerous than people > posting copyrighted sound recordings on YouTube with their videos. > I'm not a copyright lawyer, but I don't think that I'm causing the > owner of this copyright (Michael Jackson's estate? or Sir Paul?) > to lose any royalties. I would never "pirate" music. > So, I'll keep it posted 'til I hear from a lawyer. > Thanks for your concern. > In the meantime, Enjoy! > Tom > > > > > > well done! thank you! > > > Thomas > > > > > > Am 20.10.2010 20:30, schrieb t...@heartistrymusic.com: > > > >Here is a link to my website where I have posted my > > > >transcription of > > > > "In My Life" by John Lennon in PDF, MIDI, and Fronimo 3 > > > >Enjoy, > > > > Tom > > > > Tom Draughon > > > > Heartistry Music > > > > http://www.heartistry.com/artists/tom.html > > > > 714 9th Avenue West > > > > Ashland, WI 54806 > > > > 715-682-9362 > > > > > > > > > > > > > > > > To get on or off this list see list information at > > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > > > > > > > > > > > www.guitarandlute.com > > www.mandolinandguitar.com > > www.fluteandguitar.com > > > > > > > Tom Draughon > Heartistry Music > http://www.heartistry.com/artists/tom.html > 714 9th Avenue West > Ashland, WI 54806 > 715-682-9362 > > www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Re: In My Life Posted On Web
Probably pointless to point out that this is copywritten material. The melody that is, and it's illegal to post this. Allan > well done! thank you! > Thomas > > Am 20.10.2010 20:30, schrieb t...@heartistrymusic.com: > >Here is a link to my website where I have posted my transcription of > > "In My Life" by John Lennon in PDF, MIDI, and Fronimo 3 > >Enjoy, > > Tom > > Tom Draughon > > Heartistry Music > > http://www.heartistry.com/artists/tom.html > > 714 9th Avenue West > > Ashland, WI 54806 > > 715-682-9362 > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Re: Looking for ...
These Scots pieces can be a lot of fun to "flesh out", you can hear 4 of them played as a medley for lute and renaissance guitar at http://www.pantagruel.de/listen.html It is the last Mp3 on the page entitled "I met her in the medowe". All the best Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Eugene C. Braig IV Gesendet: Donnerstag, 7. Januar 2010 00:56 An: 'Valéry Sauvage'; 'Stephen Fryer' Cc: 'Lute Net' Betreff: [LUTE] Re: Looking for ... I'm pretty certain the Mel Bay publication is an effort to capture what Ronn actual performed on the Dorian disc, "divisions", ornamented repeats, and all. Since the source is dominated by simple melody statements, it really needs a little "fleshing" to make interesting performance material. Best, Eugene > -Original Message- > From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On > Behalf Of Valéry Sauvage > Sent: Tuesday, January 05, 2010 4:54 AM > To: 'Stephen Fryer'; 'Eugene C. Braig IV' > Cc: 'Lute Net' > Subject: [LUTE] Re: Looking for ... > > Here is a link to a pdf of the Straloch (a copy was given to me by a > lutenist in 1985... so as it is not published, enjoy !) > http://www.mediafire.com/?mzjndtjq2yj > About differences of the piece we were talking about, look for "A daunce" > page 16, other version of the same tune. > Valéry > > -Message d'origine- > De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la > part > de Stephen Fryer > Envoyé : mardi 5 janvier 2010 01:27 > À : Eugene C. Braig IV > Cc : 'Lute Net' > Objet : [LUTE] Re: Looking for ... > > > Eugene C. Braig IV wrote: > > I'm not certain, but I believe it is contained in this publication: > > http://openlibrary.org/b/OL11085910M/Mel_Bay_Scottish_Lute > > > > I can check my own copy when home. > > Thanks Eugene. Last time I'd looked (a couple of years ago after taking > Ronn's class on Scottish Lute) it was out of print and I couldn't find a > copy. I looks like it is available again so I'll get a copy (I already > have volume 2). Not only that but you can preview it at Amazon.com. > > Interestingly there seem to be some differences (besides Ronn's > variations) between this publication and what Valérie sent. > > Stephen Fryer > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
[LUTE] Re: Liuto forte
The text was used for a performance at a lute festival in Belgium. As you admit it does sound silly, there is no evidence that Bach wrote 6 suites for the lute, even that he was so very interested in the lute. I am sure a lot of lutenists would love to think he was, but it does not seem to have interested him a great deal. But maybe he could see into the future and wanted to write for an instrument that was invented a few hundred years lateror maybe the liuto forte is not a new instrument, but an idea stolen from the 18th century. There are also a number of modern performances on dminor baroque lute so they do not seem to be "unplayable". All the best Mark p.S. Here is EB's programme presenting the reconstructed 6 suites Johann Sebastian BACH: suite BWV 995 prélude, allemande, courante, sarabande, gavottes 1 et 2, gigue. Joaquin RODRIGO: Sarabande lointaine. Johann Sebastian BACH: suite BWV 999 (reconstitution É. Bellocq) prélude, fugue, sarabande, menuets 1, 2 et 3. Yuquijiro YOCOH: Sakura, thème et variations sur la chanson traditionnelle japonaise. Johann Sebastian BACH: suite BWV 998 prélude, fugue et allegro. Johann Sebastian BACH: suite BWV 996 prélude, allemande, courante, sarabande, bourrée, gigue. Wolfgang Amadeus MOZART: larghetto du Divertimento KV 439b nº2. Johann Sebastian BACH: suite BWV 997 prélude, fugue, sarabande, gigue et double. DEBUSSY: La fille aux cheveux de lin. Johann Sebastian BACH: suite BWV 1006a prélude, loure, gavotte en rondeau, menuets 1 et 2, bourrée, gigue. -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Franz Mechsner Gesendet: Montag, 21. Dezember 2009 17:09 An: Mark Wheeler; Sauvage Valéry; lute Betreff: [LUTE] Re: Liuto forte Dear Mark, where did you get Eric Bellocq's promotion text from? It sounds indeed a little silly - but given how much work he semed to have invested in research on Bach suites, and finally playing them in ABs (?) tuning, one should do him justice before ridiculing him and make sure what's the matter with this text... not everything is what it seems to be... F ______ Von: lute-...@cs.dartmouth.edu im Auftrag von Mark Wheeler Gesendet: So 20.12.2009 16:27 An: 'Sauvage Valery'; lute Betreff: [LUTE] Re: Liuto forte Well if you find playing "a guitar in form of a lute saying it is a lute" strange then have a look at this promotion text from the same lutenist.. "It is assumed that Bach, just as for the violin and the cello, composed six solo suites for lute. But only a few of these incredibly difficult lute compositions have been preserved. Eric Bellocq accepted the challenge and reconstructed a complete suite cycle. For this purpose, he had a `luito forte' built, which all of a sudden makes these compositions quite playable!" Who assumes that there are 6 solo suites for lute, where is the evidence? All of the surviving Bach compositions or arrangements have been recorded many times, so they are playable on a standard baroque lute. Eric's text is of course absolute hogwash, but it is the sort of thing that some classical promoters probably lap up, not surprising considering that huge portions of the mega-narrative of classical music dreamed up in the 19th century is equally ridiculous. But wasn't one of the aims of the early music movement to try to get beyond these assumptions and myths. Mark -Urspruengliche Nachricht- Von: lute-...@cs.dartmouth.edu [[1]mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Sauvage Valery Gesendet: Sonntag, 20. Dezember 2009 15:58 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Liuto forte I'm not against guitar and guitar players (as a guitar player myself, on romantic intrument ;-) but I don't understand why play a guitar in form of a lute saying it is a lute, as I find my normal lute "forte" enough in itself, that's all. And after, eveyone makes whatever he wants... V. - Original Message - From: To: Sent: Sunday, December 20, 2009 3:30 PM Subject: [LUTE] Re: Liuto forte > > > > > > > -Original Message- > From: terli...@aol.com > To: chriswi...@yahoo.com > Sent: Sun, Dec 20, 2009 9:22 am > Subject: Re: [LUTE] Re: Liuto forte > > > > > I write at the risk of being gummed to death by a horde of irate > lutenists: > > > I don't know what kind of guitars and guitar playing lutenists here have > been exposed to here but there is a wide variety of types of guitars and > playing styles. Hauser style guitar guitars are very good for playing
[LUTE] Re: another day at the office
The cittern is certainly one of the most overlooked instrument in the early music world today. Italian citterns seemed to nearly always have more than 4 courses. And Monteverdi did mention it (in its theorboed form) in the scoring for Orfeo, so it has more of a Monteverdi link than Baroque guitar. Also its social position had not lowered at this point, it was only later in the 17th century that this happened. So there would have been no problem in using it in a church. All the best Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 17:55 An: lute Cc: Lutelist Betreff: [LUTE] Re: another day at the office Why not? We tend to overlook this lovely instrument - but surely there were a lot of them around - and with more than 4 courses if I remember aright. Monica - Original Message - From: "lute" To: "'Monica Hall'" ; Cc: "'Lutelist'" Sent: Saturday, December 19, 2009 4:51 PM Subject: AW: [LUTE] Re: another day at the office Or maybe a cittern? Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 12:43 An: tio...@gmail.com Cc: Lutelist Betreff: [LUTE] Re: another day at the office That is interesting becuase if it just says "chitarra" it may not refer to the 5-course guitar but rather to the 4-course mandora or possibly even the chitarrone. But that is perhaps another story. Monica - Original Message - From: Cc: "Lutelist" Sent: Saturday, December 19, 2009 9:02 AM Subject: [LUTE] Re: another day at the office >> - Original Message - >> From: > >> What you think about the "Cantabo Domino" by Paolo Quagliati, (printed in >> Fabio Costantini, Scelta di mottetti [...] libro secondo, Roma, Robletti >> 1618) where we have 2 pentagrams for the "chitarra"? > > > I made a mistake: there's just a continuo part in bass clef for the > "chitarra". No letters. > The organ part is printed on two pentagrams (lines): the bass part and the > highest voice of the vocal ensembe. > It's the only exemple I know, at least for sacred music. > > Diego > > > __ Information from ESET NOD32 Antivirus, version of virus > signature database 4699 (20091218) __ > > The message was checked by ESET NOD32 Antivirus. > > http://www.eset.com > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: another day at the office
Or maybe a cittern? Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 12:43 An: tio...@gmail.com Cc: Lutelist Betreff: [LUTE] Re: another day at the office That is interesting becuase if it just says "chitarra" it may not refer to the 5-course guitar but rather to the 4-course mandora or possibly even the chitarrone. But that is perhaps another story. Monica - Original Message - From: Cc: "Lutelist" Sent: Saturday, December 19, 2009 9:02 AM Subject: [LUTE] Re: another day at the office >> - Original Message - >> From: > >> What you think about the "Cantabo Domino" by Paolo Quagliati, (printed in >> Fabio Costantini, Scelta di mottetti [...] libro secondo, Roma, Robletti >> 1618) where we have 2 pentagrams for the "chitarra"? > > > I made a mistake: there's just a continuo part in bass clef for the > "chitarra". No letters. > The organ part is printed on two pentagrams (lines): the bass part and the > highest voice of the vocal ensembe. > It's the only exemple I know, at least for sacred music. > > Diego > > > __ Information from ESET NOD32 Antivirus, version of virus > signature database 4699 (20091218) __ > > The message was checked by ESET NOD32 Antivirus. > > http://www.eset.com > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Danish Renaisance (Lute) Music
Is anybody aware of any specifically Danish lute music or with strong links to the Danish court. Dowland and Robinson famously worked at the Danish court, but are there any lists of all the musicians who worked there? It seems a great deal of the music and records from renaissance Denmark seems to have been lost in the 1728 fire that consumed Copenhagen. I am also interested in any keyboard sources from the period and secular Danish vocal music sources. Would greatly appreciate any help All the best Mark Wheeler www.pantagruel.de -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von David van Ooijen Gesendet: Dienstag, 1. Dezember 2009 23:27 An: lutelist Net Betreff: [LUTE] Re: Terminology: brise On Tue, Dec 1, 2009 at 8:56 PM, Jaroslaw Lipski wrote: > Aha, so obviously if it was commonly in use by people writing about the > music there must be a lot of books prior to 1928 mentioning that term. Could > you list just a few, please? Are you addressing me? These were not my words, so you'd better contact L. de La Laurencie (medium, anyone?), who wrote in 1928: 'ce qu'on appelé le "style brisé" des Gaultier'. But given the limited context (this is all Ledbetter quotes from La Laurencie) one could read that in various ways, I suppose. But is it interesting, really? Ledbetter writes he believes style brisé is a modern term and gives a definition of the term that is useful in the context of his book. The term as used today seems to be understood in a similar way. So it is a useful term still. If the term is limited to express what you want to say, define a new term, or find an old one which covers your idea better. If anyone can find an earlier reference to it than 1928, we're all looking forward to hearing about it, but will it change anything? Unless a 17th century definition is dug up, of course. Now that would be really interesting. David - loves style brisé and could transmit some of that love and understanding to a pupil playing Ballard today :-) > - Original Message - From: "David van Ooijen" > > To: > Sent: Tuesday, December 01, 2009 12:25 PM > Subject: [LUTE] Re: Terminology: brise > > >>>> gives 1928 as the earliest >>> >>> >source he found for the term style brisé, although in that source (L= To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: video ratings
Dear David, You seemed to have missed MySpace. All the best Mark www.myspace.com/pantagruelian -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 15. Februar 2008 00:22 An: lute-cs.dartmouth.edu Betreff: [LUTE] video ratings Time for the six month review and ratings for sites that host video, specially geared to the lute and its unique sound. Ratings involve sound, video quality, ease of use, statistics counters, and the abilty to "embed" the code in a web page, so you can make your own video pages, or use the video easily on blogs. In addition, especially important for longer lutes, widescreen options are considered. The winners: ** youtube: The 800 kilo gorilla. Attracts the most audience. Pros: none, except name recognition. Cons: this is older tech that was poor for music to begin with. The audio codecs have even gotten worse, and they were not great to start with. Buggy window aperture resizing--makes things look squished for no reason. Grainy video. The tech will probably be updated, but for now it is pretty soggy. The code can be embedded, but there are better options. ** google: same as above: easy to find; hard on the ears vimeo: This is the place to start. In addition to video and audio that is superior to youtube, vimeo offers 720p higher def (not true high def) which is a vast improvement. The integration into the flash streaming model is very good, giving to end user lots of viewing options. In addition, true widescreen with freely resizeable windows is available. This is a huge plus in designing websites. H264 codecs are supported, along with the usual ones. User interface is good on both ends. Finally, vimeo makes the entire file available for high definition viewing from your hard drive for the best possible viewing experience. (Use the VLC player intstead of quicktime) Here are some medium definition videos on Vimeo, you can compare it to youtube http://www.vimeo.com/690338 http://www.vimeo.com/691700 Cons: Although the embedding features are superb, you only get High definition from the website. Embedded video is standard definition. Nonetheless, the SD is very good, and you can link through to the site. HD embedded will arrive as an upgrade at some point. Stage6 Stage6 has the best quality, period. The downside is that if you upload a big file, playback can be slow. Embedding options do not work well. Nonetheless, if you record your audio separately, you can post it in CD quality, or very high bitrate MP3--either way, it will sound much better, and it will be in rock solid stereo instead of mono. Stage6 also allows you to download the file for home playback :). Lastly, Stage6 accepts "true" high def, but the viewer would have to download it, since streaming is not that reliable. Cons: High bandwidth, buggy uploads. Ifilm Ifilm has both good video and sound, but it does not embed widescreen properly. This was one of the best choices till vimeo upgraded their flash engines. Best of luck and happy video. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tombeau de du But
Dear Rob, Thanks fort the Mp3, enjoyed listening to that. I see that you have changed your stringing, would be interesting to know the background to that. All the best Mark -Ursprüngliche Nachricht- Von: Rob MacKillop [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 12. Februar 2008 11:54 An: Lute List Betreff: [LUTE] Tombeau de du But I'd like to thank all those people who have written to me over the last couple of weeks enquiring about my arm. I'm happy to report that it feels 100 per cent fine. However, I'm not rushing back into playing for as many hours as I can cram into the day, and restricting myself to half an hour in the morning and the same in the evening. This morning I managed to record on my Martin Shepherd 11c the beautiful 'Tombeau de du But' by Robert de Visee. I think someone else on this list asked the question: did anyone ever write a bad tombeau? I don't think so. It seemed to bring out the best in them. This one is very moving, and I hope you enjoy listening to it. I consider it a 'work in progress' recording. You can find it just above the photo of me holding the lute near the bottom of this page: http://www.rmguitar.info/Maler.htm Cheers, Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: How About A Lute-Care Handbook?
David van Edwards wrote a short guide to taking care of your lute - published by The Lute Society. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: piece of the month revived
Dear Martin, a couple of years ago a harpsichord player mentioned to me that the Elizabethan name for the piece we are talking about - The Spanish Pavan came from it being introduced to English musicians by Antonio Cabezón when he visited England in 1554-1555. He published the piece in one of his keyboard collections under the title "Pavana italiana" to confuse matters even more. I have no idea if this is a myth or can be backed up by any evidence. All the best Mark -Ursprüngliche Nachricht- Von: Martin Shepherd [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 8. Februar 2008 23:54 An: Are Vidar Boye Hansen; Lute Net Betreff: [LUTE] Re: piece of the month revived Dear Are, I'm not sure about the origins of the "Spanish Pavan" - I know there is an article by Diana Poulton in the LSJ 1961 but have not had time to look it up. It seems almost like a ground bass, rather than a "tune", but as with so many other pieces, it is hard to draw a line between the two. I will delve some more into the archives Best wishes, Martin Are Vidar Boye Hansen wrote: >Is it possible that the Spanish Pavan actually is a spanish vihuela piece? > > >Are > > > >>Dear All, >> >>I have revived the Piece of the Month feature on my site. It now includes >>MP3 files. No reverb added this time - compare them with the files on my >>recordings page and let me know which you prefer: >> >>www.luteshop.co.uk/month/pieceofthemonth.htm >> >>www.luteshop.co.uk/recordings.html >> >>Best wishes, >> >>Martin >> >> >> >>To get on or off this list see list information at >>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> >> > > > > >
[LUTE] Re: piece of the month revived
Hi Martin, I personally prefer a bit of reverb, but admit it is a difficult thing to get right without spending thousands on a professional system. I think your recordings with reverb sound better - better separation, and more of the instrument's resonance comes through. Nice playing, again. Your website is waking up! Just my tuppenceworth. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pittoni's theorbo?
> >>>Don't believe everything you read on the lute net. <<< Now you tell me! Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino - surprising new evidence
Yes, Diego, what is the introduction by Castaldi left out of the Minkoff print? Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino - surprising new evidence
Diego, did you read the essay? Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Tiorbino - surprising new evidence
I had a very pleasant evening on Saturday with my harpsichord-making friend, Grant O'Brien, and his friends, including a short recital on one of his harpsichords by Lucy Carolan, a first-rate player. Grant and I got to talking about lute and harpsichord making in Italy, and he revealed a couple of interesting points: 1. all Italian harpsichords had fir soundboards, not spruce, as found north of the Alps. Did I know of any fir-soundboarded lutes? Well, I didn't. Can anyone contribute something here? 2. the tiorbino: here is a fascinating article from Grant's website, discussing a keyboard instrument called the tiorbino, apparently gut-strung, like the lautenclavier: http://www.claviantica.com/Publications_files/The_Tiorbino/The_tiorbino.htm - I love the part where a buyer asks the maker to build another one if the first one goes out of tune! A great idea, albeit somewhat expensive... Although these are keyboard topics, I'm sure they will be of interest to some here. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: recordings page
Martin, that is very beautiful, and a much better recorded sound than you had sent me before. The gut sounds great, great separation, nice singing treble and mellifluous bass. And your playing is excellent too. I couldn't detect any edits - sounds like single takes. Well done. How many luthiers can play THAT well?! Rob www.rmguitar.info -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Theorbo in G? Plus some guidelines
Well I for one found that fascinating, Martyn. Thanks. Malcolm Prior has just told me that - after a discussion with Lynda Sayce - my theorbo (which he is making at this very moment) has grown to 85cms from 84. It will be tuned to A=440. As I will be using it primarily for accompaniment, that suits me fine. I can't afford multiple theorbos (Theorboes?) so this size seems ideal - big enough for Italian ensemble work, but not too big for some of the solo repertoire. Something not mentioned in your message is pitch. I love French baroque at low pitch, A = 392. My guitar is tuned that way, and 11c also. I know not everyone agrees on 392, but I love it. Let's assume for the sake of discussion (not arguement) that Robert de Visee played at 392, what would that mean for the string length of the large French theorbo and also the theorbe de pieces? We believe, do we not, that the large French theorbo was smaller than its Italian counterpart, but not in the 70-80cms region? I'm wondering if I could tune my 85cms theorbo to 392, thinking in A with double re-entrant strings. I suppose that would be the same as tuning it to G (A 440). Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Playing in time (olim Polish, anyone?)
Dear Roman I also know a lot of people who say the same thing here in Germany, but most of them have you on their spam list :) Keep smiling Mark -Ursprüngliche Nachricht- Von: howard posner [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 1. Februar 2008 20:50 An: Lute Net Betreff: [LUTE] Re: Playing in time (olim Polish, anyone?) On Feb 1, 2008, at 11:43 AM, Roman Turovsky wrote: >>> Well, in that case we should level the same charges against Hoppy >>> Smith, who both keeps "country time" and alters the performing >>> material. >>> RT >> >> Yes, we should. >> >> SAM > Has anyone, ever? > RT Oh! Oh! Over here! I have! I have! Right on this list! Do I get a prize? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: communication problems
Great. No-one else need respond. Rob On 01/02/2008, Manolo Laguillo <[EMAIL PROTECTED]> wrote: > > Rob, > this one went through, no problem! > Manolo > > Rob Lute wrote: > > >I've created a different email account with google. Please let me know if > >this gets sent your spam folder, or otherwise. > > > >Sorry about all this, but I'm not the only one having problems with this > >list. > > > >Rob MacKillop > > > >-- > > > >To get on or off this list see list information at > >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > -- > --
[LUTE] communication problems
I've created a different email account with google. Please let me know if this gets sent your spam folder, or otherwise. Sorry about all this, but I'm not the only one having problems with this list. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov
Hi Dante, You are absolutely right, I personally have no problem with him changing the last chord, I also would not do it, but if he wants to why not. There is probably nothing more un-HIP than not daring to stray from the written page. Playing exactly what is written is more a romantic or modern classical point of view. It would still be interesting to know if the piece was transposed or playing on an Eb lute. The video is playback and not just because it is out of sync. I personally find this kind of classical playback video mostly pretty unconvincing. But if there is an audience for it out there All the best Mark -Ursprüngliche Nachricht- Von: Dante Ferrara [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 21:34 An: Lutelist Cc: Lutelist Betreff: [LUTE] Karamazov My, my. We are an overheated lot tonight! Yes, the final chord sounds a bit strange and out of place, but if that's how Edin wants to play it, well fine by me. I wouldn't, he would. As none of us has ever met Dowland, we'll never know whether he thwacked his strings harshly near the bridge for effect or gently picked the strings near the neck joint for a different effect. And who are we to say that everything should be played straight, identical in attack, tone quality and the rest? Reading between the lines, I reckon there are some lutenists who think every lute tune between 1500 and 1700 was played without a shred of humour or personality. Imagine two hundred years of a Europe-ful of lutenists, none daring to stray from the written page. Come on, lighten up! Let me diffuse the tension by offering my short videos... http://www.youtube.com/DanteFerrara DF To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov...
Hi Roman, You seem to be back in your old ways. Trying to cover up facts that are not so comfortable for your "edifying" viewpoint. The video is not live, the first note is Eb and the video is out of sync. These may be unbearable facts for you, but thats life. But thanks again for the link, it is always good to have a benchmark for how not to do something Stay Clean Mark -Ursprüngliche Nachricht- Von: Roman Turovsky [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 20:23 An: G. Crona; Lute; 'Lutelist' Betreff: Re: [LUTE] Re: Karamazov... Edin was just moving his hands in sync with Nigel North soundtrack, yeah, that's right. No, actually it was overdubbed on a synthetiser! Yeah, that's right. MArk, you remind me of a medieval English poem that goes something like (not verbatim, after 20 or so years): "Whoever after crappinge not wipeth his arse clean On his breeches it will seene." RT - Original Message - From: "G. Crona" <[EMAIL PROTECTED]> To: "Lute" <[EMAIL PROTECTED]>; "'Lutelist'" ; "'Roman Turovsky'" <[EMAIL PROTECTED]> Sent: Thursday, January 24, 2008 2:13 PM Subject: [LUTE] Re: Karamazov... > Yeah Mark, on the second scrutinous look after posting I noticed that. But > when you shut your eyes and just listen to the soundtrack, you get a > feeling that K tries to bring across a bit of the drama and power of this > top 10 Dowland piece. For that I salute him. Taking the liberty to > substitute the last chord is of course questionable in spite of the drama. > > G. > > - Original Message - > From: "Lute" <[EMAIL PROTECTED]> > To: "'G. Crona'" <[EMAIL PROTECTED]>; "'Lutelist'" > ; "'Roman Turovsky'" <[EMAIL PROTECTED]> > Sent: Thursday, January 24, 2008 8:00 PM > Subject: AW: [LUTE] Re: Karamazov... > > > You are of course aware that the sound is playback and probably not played > on the instrument used in the video. The first note is an Eb, so the > instrument is in Eb or he has transposed the piece. > > Also the images are almost never in sync with the music. > > All the best > Mark > > > > -Ursprüngliche Nachricht- > Von: G. Crona [mailto:[EMAIL PROTECTED] > Gesendet: Donnerstag, 24. Januar 2008 19:30 > An: Lutelist; Roman Turovsky > Betreff: [LUTE] Re: Karamazov... > > Great perfirmance indeed! Very evocative and "affektiert". Don't know if > the > > archlute (thankfully double coursed) is something Dowland would have > played > on, but it sounded great. Short nails on RH. Combination of TI - TO. Lots > of > > changes of RH position and holding of the lute, which makes the clip > dramatic, but also gives different sound colours and livens it up. > Powerful > playing. One of the top music-YTs I've seen so far cineastically (and > perhaps even soundwise - at least its in sync!). Karamazov proves himself > here after all that undeserved critisism > > G. > > PS. So Michael wasn't so far of with his cello-support anyway eh? > > - Original Message - > From: "Roman Turovsky" <[EMAIL PROTECTED]> > To: "Lutelist" > Sent: Thursday, January 24, 2008 6:57 PM > Subject: [LUTE] Karamazov... > > >> http://fr.youtube.com/watch?v=rVWvfnGpF-Y >> >> 'nuf said... >> RT > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Karamazov...
You are of course aware that the sound is playback and probably not played on the instrument used in the video. The first note is an Eb, so the instrument is in Eb or he has transposed the piece. Also the images are almost never in sync with the music. All the best Mark -Ursprüngliche Nachricht- Von: G. Crona [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 19:30 An: Lutelist; Roman Turovsky Betreff: [LUTE] Re: Karamazov... Great perfirmance indeed! Very evocative and "affektiert". Don't know if the archlute (thankfully double coursed) is something Dowland would have played on, but it sounded great. Short nails on RH. Combination of TI - TO. Lots of changes of RH position and holding of the lute, which makes the clip dramatic, but also gives different sound colours and livens it up. Powerful playing. One of the top music-YTs I've seen so far cineastically (and perhaps even soundwise - at least its in sync!). Karamazov proves himself here after all that undeserved critisism G. PS. So Michael wasn't so far of with his cello-support anyway eh? - Original Message - From: "Roman Turovsky" <[EMAIL PROTECTED]> To: "Lutelist" Sent: Thursday, January 24, 2008 6:57 PM Subject: [LUTE] Karamazov... > http://fr.youtube.com/watch?v=rVWvfnGpF-Y > > 'nuf said... > RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] "The End of Early Music" A new book on period performance
Dear Lutenetters, Maybe a bit OT, but I think probably of interest to most of us here is a new book by the Oboist Bruce Haynes called "The End of Early Music". I have just finally just got round to having a look at it and it is a fascinating read particularly being published 20 years after Nicolas Kenyon's "Authenticity and Early Music". Here is a review from Opera Today.com that gives a good idea of what it is about. http://www.operatoday.com/content/2007/10/haynes_the_end.php "Once upon a time, there was something known as <http://en.wikipedia.org/wiki/Early_music> early music. This was not so much a repertoire, a musico-historical epoch, as an attitude, a counter-cultural group. There was classical music, the boring old standard-repertoire taught at conservatories, and played in the same old way by people who fetishized the lineage of their teachers, and their teacher's teachers, and then there was early music, the music of Bach and his predecessors, played by amateur performers (often musicologists) on "old" instruments (recorder, harpsichords, viola da gamba), something which fit right in with the reclaiming of folk music and folk instruments by the hippie resistance to manufactured mass culture. At the same time Albert Ayler and John Coltrane were exploring the outer limits of free jazz, and Jefferson Airplane combining psychedelics and folk-rock, amateur ensembles with krummhorns, sackbuts, shawms, and other dead instruments were reviving centuries of forgotten repertoire from Machaut onwards. Early music managed to be cutting edge by going deep into music which had been only of interest to historians, and transgressive by suggesting that this music and the music which followed did not belong only to its self-anointed priesthood, which seemed to be only mumbling half-understood inherited formulas, with no sense of the enlivening spirit within. Time passes, and nothing from 1967 seems very current anymore, with the possible exception of Purple Haze <http://en.wikipedia.org/wiki/Purple_Haze> . The amateur (and hippie) tinge to early music was washed away by decades of musicians who managed to perform early music professionally on period instruments, and with an historical awareness of the performance issues involved. Their success drew the barbed words of musicologist Richard <http://en.wikipedia.org/wiki/Richard_Taruskin> Taruskin, himself once an amateur performing-musicologist, pointing out the lack of authenticity involved in this recuperation of both unknown and well-known repertoire. The End of Early Music may be seen as a response to the criticisms of Taruskin and others. Oboist Bruce Haynes is one who has been involved with historically-informed performance for decades, since the first successes of four or five decades ago, and unlike the younger Taruskin, whose recordings are safely entombed on LP in music libraries, his recordings are still commercially available. His survey of the history and issues involved with period performance is compulsively readable. Though the volume has the standard scholarly apparatus of notes and bibliography, there is nothing of the dry-as-dust scholarly compendium about it. An innovation which is particularly useful is the provision of sound examples at the publisher's site, even if means that the book can be best used with your network-enabled computer close at hand. The notion that concert-going has become a secular ritual substituting for more explicitly religious rites has become widely accepted, but Haynes goes farther in looking at the amount of fetishism and ritual involved in musical interpretation and consumption in general, disassembling the various fetishes we take for granted as part of musical experiences - the notion of the canon, of absolute music, of genius, of score-fidelity, and others. Evidently I sympathize with Haynes' position, but even so I think it must be clear to any reader that he has done his work well." All the best Mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [OT] Stringplay
Thanks for finding that, Julian Bream is simply amazing, I must get that DVD. I met him once and he has simply so much attitude. Have a look at im playing jazz here http://www.youtube.com/watch?v=ti219aV6oLg All the best Mark -Ursprüngliche Nachricht- Von: G. Crona [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 8. Januar 2008 23:18 An: Lute@cs.dartmouth.edu Betreff: [LUTE] [OT] Stringplay This is not for those faint at heart! http://www.youtube.com/watch?v=JbH4BD1YMnE G. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting's John Dowland shot down in flames.....
Dear Roman, I am sorry you seem to have mistaken me for someone else. I think the man you are looking for is on this video http://youtube.com/watch?v=KZm0RBoZwrs Maybe he can get together with Andre Rieu and they can have a billboard charts hit together. I have just had a look at the wikepedia page of this artist and I don't see to see any mention of his "cabaret" past. I think maybe someone should add a link to this video. Mark -Ursprüngliche Nachricht- Von: Roman Turovsky [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 16:48 An: Lute; 'David Tayler'; 'lute-cs.dartmouth.edu' Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 You should propose your SCA clownnade "The Yeomen of Penzance" to the Billboard. Then see what happens (who knows- it migh be a gargantuan success...). RT From: "Lute" <[EMAIL PROTECTED]> If you read the blog a bit further it seems that Sting is probably not the best selling classical CD of the year that is in fact the "The Baby Einstein Music Box Orchestra" who are the top selling budget and mid-price artists. I think Sting fits in quite nicely there; maybe they should work together :) All the best Mark www.pantagruel.de www.myspace.com/pantagruelian www.pantablog.pantagruel.de -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 02:40 An: lute-cs.dartmouth.edu Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 Lorraine Hunt was one of the great ones. Listening to her sing, you would usually lose your place in the music. Some of her archive material from years ago is being remastered and released for the first time. Good for Sting, BTW. "and bees have Sting, although they be not great" A great instance of the collective plural. dt At 05:33 PM 12/22/2007, you wrote: >http://www.classicalmusicnews.ru/english/recordings/Sting-s-John-Dowland-Di sc-Tops-Billboard-Year-End-Classical-Chart-for-Second-YearLorraine-Hunt-Lieb erson-Is-Fifth-for-2007/ > >RT > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007
If you read the blog a bit further it seems that Sting is probably not the best selling classical CD of the year that is in fact the "The Baby Einstein Music Box Orchestra" who are the top selling budget and mid-price artists. I think Sting fits in quite nicely there; maybe they should work together :) All the best Mark www.pantagruel.de www.myspace.com/pantagruelian www.pantablog.pantagruel.de -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 02:40 An: lute-cs.dartmouth.edu Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 Lorraine Hunt was one of the great ones. Listening to her sing, you would usually lose your place in the music. Some of her archive material from years ago is being remastered and released for the first time. Good for Sting, BTW. "and bees have Sting, although they be not great" A great instance of the collective plural. dt At 05:33 PM 12/22/2007, you wrote: >http://www.classicalmusicnews.ru/english/recordings/Sting-s-John-Dowland-Di sc-Tops-Billboard-Year-End-Classical-Chart-for-Second-YearLorraine-Hunt-Lieb erson-Is-Fifth-for-2007/ > >RT > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html