[LUTE] Some New Lute Music

[sterling price]

   Hi all,
   Here is a video of me playing my new piece on the baroque lute I built.
   You shall notice that I am (mostly!) playing thumb out near the bridge.
   Susan
[1]Introduzzione and Allegro by Susan Price (Lute)

[youtube.png]

   Introduzzione and Allegro by Susan Price (Lute)

   Susan Price plays her own composition on a lute she built herself. This
 music is in the style of Sylvius Leopold...

   --

References

   Visible links:
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[LUTE] Shakey Ground for 15 Course Lute

[sterling price]

   Here is a video of my piece called Shakey Ground. 15 courses and 15
   frets.
   SP
   [1]'Shakey Ground' for 15 Course Lute[]^[DEL: :DEL]

[youtube.png]

 'Shakey Ground' for 15 Course Lute

   Here's a piece I wrote called Shakey Ground. It was inspired by a very
sad song by Dido called 'The Day Before t...

   --

References

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[BAROQUE-LUTE] Re: Tielke Baroque Lute

[sterling price]

If that book has good photos of this lute I'll buy it. I'd like to know if it 
does have photos before I buy it though.
Sterling 

Sent from my iPad

> On Jan 3, 2018, at 11:21 PM, Andreas Schlegel <lute.cor...@sunrise.ch> wrote:
> 
> Did you consulted the new book by Friedemann Hellwig?
> http://tielke-hamburg.de/htm_english/einfuehrung.htm 
> <http://tielke-hamburg.de/htm_english/einfuehrung.htm>
> 
> Andreas
> 
>> Am 04.01.2018 um 05:35 schrieb sterling price <spiffys84...@cs.dartmouth.edu 
>> <mailto:spiffys84...@cs.dartmouth.edu>>:
>> 
>> Hi all,
>> I'm trying to find the whereabouts of the Joachim Tielke 1678 baroque lute 
>> made in Hamburg. I'm planning to make a copy of the pegbox. I've got the 
>> drawing, but I'd love to see pictures of this instrument. An Internet search 
>> yielded nuttin.
>> Danke,
>> Sterling
>> 
>> 
>> Sent from my iPad
>> 
>> 
>> 
>> 
>> 
>> 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>
> 
> Andreas Schlegel
> Eckstr. 6
> CH-5737 Menziken
> Festnetz +41 (0)62 771 47 07
> Mobile +41 (0)78 646 87 63
> lute.cor...@sunrise.ch <mailto:lute.cor...@sunrise.ch>
> 
> 
> 
> 
> --

[BAROQUE-LUTE] Tielke Baroque Lute

[sterling price]

Hi all,
I'm trying to find the whereabouts of the Joachim Tielke 1678 baroque lute made 
in Hamburg. I'm planning to make a copy of the pegbox. I've got the drawing, 
but I'd love to see pictures of this instrument. An Internet search yielded 
nuttin.
Danke,
Sterling


Sent from my iPad

> 
> 
> 




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[LUTE] Re: New music

[sterling price]

I have composed a few big works for the baroque lute, and I'm now working on 
something for 15 course archlute.
Sterling 

Sent from my iPad

> On Dec 21, 2017, at 4:10 PM, Daniel Shoskes  wrote:
> 
> I highly recommend it. I commissioned a work from Ronn McFarlane and I think 
> it’s one of his most beautiful:
> 
> https://www.youtube.com/watch?v=iYgAAyMtgtE 
> 
> 
> Ronn playing it live: https://www.youtube.com/watch?v=Cz3j5muuVKc 
> 
> 
> Recording: 
> https://itunes.apple.com/us/album/passacaglia/878859427?i=878859469 
> 
> 
> Also commissioned a version of Adon Olam from Rene Schiffer that is in the 
> form of a passacaglia with a theorbo part.
> 
> Let’s keep them gainfully employed!
> 
> Danny
> 
> 
> 
>> On Dec 21, 2017, at 5:38 PM, Jacob Johnson  wrote:
>> 
>>   I don't think that's entirely accurate. Ronn McFarlane plays his own
>>  compositions, Jakob Lindberg performs the Britten Nocturnal (I know,
>>  it's not that new, and it's not really for lute, but IMO it kinda
>>  counts), Chris Wilke recorded a whole cd of Roman Turovsky's new works
>>  for baroque lute, I saw Elizabeth Kenny perform TWO recent theorbo
>>  commissions at the LuteFestWest, and there's certainly more examples I
>>  just can't think of at the moment.
>>  As soon as I can afford to do so, I intend to commission some works for
>>  myself to play.
>> 
>>  Jacob Johnson
>>  [uc?export=downloadid=0B6_gM3BRE6ZrYVVZZU5QNmJqdDQrevid=0B6_g
>>  M3BRE6ZraW9nQ2U4SGNwV0tYVWxobnNBVjBsZi9FNHhzPQ]
>>  Guitar/Lute
>>  [1]www.johnsonguitarstudio.com
>>  469.237.0625.
>>  On Thu, Dec 21, 2017 at 4:12 PM, Christopher Stetson
>>  <[2]christophertstet...@gmail.com> wrote:
>> 
>>   Hello all.
>>   An interesting question, Peter, thanks for bringing it up.To
>>answer
>>   honestly and personally, I'm not especially interested in new
>>music,
>>   per se, for any of the instruments I play (mainly lute, guitar,
>>   mandolin, but some others too).I couldn't really say why,
>>except
>>   that the music I've looked at from the last 30 years tends, and I
>>mean
>>   tends, to be difficult and not especially tuneful to my ear.
>>There
>>   are exceptions, of course, and I play some of those, though
>>mostly on
>>   guitar.I'm not a professional, so I tend to be fairly
>>conservstive
>>   in the music I choose to spend time seeking out and playing.I
>>also
>>   don't play many of the old compositions that fit the above
>>criteria.
>>   I fully realize. however,that one person's difficult is
>>another
>>   person's interesting, and I'm really glad that people are writing
>>new
>>   music for lute.
>>   Best to all, and keep playing,
>>   Chris.
>> 
>> On Thu, Dec 21, 2017 at 2:34 PM, Peter Martin
>>  <[1][3]peter.l...@gmail.com>
>> wrote:
>>  Hello all,
>>  I recently bought a Wigmore Hall Live CD of a 2013 concert by
>>  countertenor Iestyn Davies and lutenist Thomas Dunford. It
>>   included
>>  the world premiere performance of a substantial piece by Nico
>>   Muhly
>>  called Old Bones. Up to now, I'd never heard of it, which
>>   surprised
>>  me because Muhly is a very successful young American composer.
>>His
>>  new opera Marnie has just premiered at English National Opera,
>>   and his
>>  previous opera Two Boys was given at ENO and at the Met in New
>>   York.
>>  The score of Old Bones is available from Music Sales. Yet I
>>   can't see
>>  that the lute world has paid the slightest attention to it.
>>  Which sets me wondering, not about Muhly as such, but about new
>>   music
>>  generally. With the honourable exception of Jacob
>>  Heringman,
>>   scarcely
>>  anyone plays it. Any thoughts on why this is? Are we
>>  simply
>>   not
>>  interested in new music?
>>  Peter
>>  --
>>   To get on or off this list see list information at
>> 
>> [2][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>   --
>>References
>>   1. mailto:[5]peter.l...@gmail.com
>>   2. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>>  --
>> 
>> References
>> 
>>  1. http://www.johnsonguitarstudio.com/
>>  2. mailto:christophertstet...@gmail.com
>>  3. mailto:peter.l...@gmail.com
>>  4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>  5. mailto:peter.l...@gmail.com
>>  6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
> --

[LUTE] Re: A stringing question for Sellas E. 545

[sterling price]

   Question--what is the longest a neck extension can be and still be able
   to have octave strings? I'm making a pegbox for a baroque lute based on
   the 14 course Hoffman pegbox--the original is 115.7cm and I might make
   it a bit longer. I wont bore you with the reason I want it longer--but
   probably 120cm will do it.
   Thanks,
   Sterling
 __

   From: Martin Shepherd 
   To: Magnus Andersson ; "lute@cs.dartmouth.edu"
   
   Sent: Monday, December 11, 2017 11:32 AM
   Subject: [LUTE] Re: A stringing question for Sellas E. 545
   Dear Magnus and All,
   A few thoughts:
   I only recently realised that this instrument existed and immediately
   found it puzzling.  Matthew's conjecture that the neck has been
   shortened removes some, but not all, of the puzzle.
   In terms of the string length for the petit jeu of c.90cm, I have
   recent
   experience that (with double strings, as was normal on Italian
   instruments) there begins to be a problem of getting a thin enough
   string for the 3rd course.  I wonder if that tells us something about
   the pitch (nominal or absolute) at which these instruments might have
   been played (I mean theorboes of 90+ cm as opposed to 80+cm).
   If the neck of E545 has been shortened, perhaps that was the point at
   which the basses were made double.  Can anyone enlighten us as to
   whether the bridge is original or has been redrilled?
   The fact that there are only 6 courses on the petit jeu is entirely
   consistent with all known Italian theorboes (and what little is known
   from iconography about French ones, which in this case are surely
   irrelevant anyway).  There is no reason to hypothesise an original
   state
   in which there were more than 6 courses.
   If the neck has been shortened, one might guess an original length for
   the grand jeu of 160-170cm, based on the proportions of extant
   theorboes.  It's hard to imagine double-strung bass courses of this
   length - it's hard enough to imagine at 130cm - so my initial puzzle
   remains.
   Whatever kind of stringing one imagines (even single throughout) there
   is always going to be a big transition from the lowest of the petit jeu
   strings to the first of the long basses - that's just the nature of the
   beast.
   Best wishes,
   Martin
   On 11/12/2017 17:23, Magnus Andersson wrote:
   >Dear collective wisdom,
   >I wonder if you might be able to help me with finding
   >proper strings for a theorbo I ´ve commissioned.
   >The instrument is a theorbo by Sellas, 1640,
   >today housed in Paris with the label E. 545.
   >
   [1][1]http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/016179
   9
   >It ´s quite a spectacular instrument with
   >six double strings on the fretboard, at 890 mm,
   >and then 8 double strings for the diapasons, at 1300 mm.
   >It was probably shortened sometime from its original length
   >into this present condition.
   >The problem that arises is when one wants to string the upper
   courses
   >of the diapasons. Here one needs very thin strings beginning with
   >0.40-0.42
   >for the high string of the 7th course Gg, at the string length of
   ca.
   >1500 mm...
   >Any ideas would be highly appreciated.
   >Best wishes,
   >Magnus Andersson
   >
   >--
   >
   > References
   >
   >1.
   [2]http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   >
   >
   > To get on or off this list see list information at
   > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   ---
   This email has been checked for viruses by Avast antivirus software.
   [4]https://www.avast.com/antivirus

   --

References

   1. http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   2. http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. https://www.avast.com/antivirus

[LUTE] Bach BWV 996

[sterling price]

   Here is me playing BWV 996 on 15 course lute.
   Sterling Price
   [1]Sterling Price--Bach BWV 996-on 15 Course Lute

[youtube.png]

   Sterling Price--Bach BWV 996-on 15 Course Lute

   JS Bach BWV 996 on 15 Course Archlute Live Performance

   --

References

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[BAROQUE-LUTE] The Lute Mustang--Part Two

[sterling price]

The Lute Mustang is back
   "Wait--that's like a Flute, right?"
   [1]The Lute Mustang Part Two

[youtube.png]

  The Lute Mustang Part Two

   "Wait--that's like a Flute, right?"

   --

References

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[BAROQUE-LUTE] Welcome to the Lute Mustang

[sterling price]

Here is a video I made this morning---
   Sterling
   [1]Welcome to the Lute Mustang

[youtube.png]

 Welcome to the Lute Mustang

   29 String Arch Lute

   --

References

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[LUTE] Re: Loose bars?

[sterling price]

   Thanks for the responses. I think I may have a couple of wonky gut
   octaves on this lute. I shall try replacing them.
   --Sterling
 __

   From: Leonard Williams <arc...@verizon.net>
   To: "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu>
   Sent: Friday, April 14, 2017 2:35 PM
   Subject: [LUTE] Re: Loose bars?
   I have actually had buzzing from the tag ends of strings at the
   bridgeâthey were long enough and so oriented as to buzz against the
   soundboard.  A little like the trompette on a hurdy-gurdy, I suppose.
   Leonard
   On 4/13/17, 9:44 PM, "sterling price" <[1]lute-...@cs.dartmouth.edu on
   behalf
   of [2]spiffys84...@cs.dartmouth.edu> wrote:
   >Hi all- I started having some buzzing on my 13 course powered lute.
   I'm
   >not sure if it is a loose bar or some weird resonance. The buzzing
   only
   >happens on certain courses and I can't isolate where it's coming from.
   >Has anyone some advice for me?
   >Thanks!
   >Sterling
   >
   >Sent from my iPad
   >
   >
   >
   >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:lute-...@cs.dartmouth.edu
   2. mailto:spiffys84...@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Loose bars?

[sterling price]

Thanks-- by the way i was referring to "course power". ;))


Sent from my iPad

> On Apr 13, 2017, at 7:52 PM, howard posner <howardpos...@ca.rr.com> wrote:
> 
> 
>> On Apr 13, 2017, at 6:44 PM, sterling price <spiffys84...@cs.dartmouth.edu> 
>> wrote:
>> 
>> Hi all- I started having some buzzing on my 13 course powered lute.
> 
> Powered lute?
> 
>> I'm not sure if it is a loose bar or some weird resonance. The buzzing only 
>> happens on certain courses and I can't isolate where it's coming from. Has 
>> anyone some advice for me?
> 
> If you press gently down all around the top and feel sponginess or crunching 
> somewhere, it’s likely a loose bar.
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Loose bars?

[sterling price]

Hi all- I started having some buzzing on my 13 course powered lute. I'm not 
sure if it is a loose bar or some weird resonance. The buzzing only happens on 
certain courses and I can't isolate where it's coming from. Has anyone some 
advice for me?
Thanks!
Sterling

Sent from my iPad



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[LUTE] Re: 14 Course Powered Tiorbino

[sterling price]

My Tiorbino is 56.7 cm on courses 1-7 and I use a tuning that is one octave 
above a regular big theorbo at 415. The challenge is tuning the high b string 
third course. I just had Boston catlines figure it all out and it works great. 
I used nylgut but I don't remember what the b string is-- it might be a .42. Is 
that the thinnest nylon available?
When playing the basses it actually sounds better to let them ring on as they 
are so high of a pitch there is less need for dampening. And when playing in 
high positions on the treble strings it sounds quite amazing. I may do a video 
of De visee on the Tiorbino recorded in the back seat of my mustang for a world 
first.
Sterling 

Sent from my iPad

> On Mar 5, 2017, at 7:37 AM, Anthony Hart <anthony.hart1...@gmail.com> wrote:
> 
>   I do not think my message got transmitted.
> 
>   I read with interest your post to the Lute discussion group.I have been
>   thinking of doing the same with my attiorbato. I have problems in
>   calculating the correct  strings. What actual tuning do you use?
> 
>   On Sun, Mar 5, 2017 at 3:17 PM Anthony Hart
>   <[1]anthony.hart1...@gmail.com> wrote:
> 
>-- Forwarded message -
>From: Anthony Hart <[1][2]anthony.hart1...@gmail.com>
>Date: Sun, Mar 5, 2017 at 2:17 PM
>    Subject: Re: [LUTE] 14 Course Powered Tiorbino
>To: sterling price <[2][3]spiffys84...@cs.dartmouth.edu>
>I read with interest your post to the Lute discussion group.I
> have been
>thinking of doing the same with my attiorbato. I have problems in
>calculating the correctstrings. What actual tuning do you
>     use?
>    Best wishes
>Anthony Hart
>2017-03-05 13:31 GMT+01:00 sterling price
><[3][4]spiffys84...@cs.dartmouth.edu>:
>  So, as I did 23 years ago I took my old attiorbato and tuned it
> as a
>  Tiorbino (that's an octave theorbo by the way). You have not
> lived
>  till you've heard De Vissee on a solo Tiorbino. This very
> spiffy
>  instrument can be used wherever a solo theorbo is used and it
> has
>  the added advantage of extreme portability. I've been sitting
> here
>  in the back seat of my Mustang playing theorbo music during
> work
>  breaks. A Tiorbino sounds very distinctive in the lute world.
> It
>  sounds very much like a small harp. Please do thyself a favor
> and
>  try putting Tiorbino strings on thy attiorbato.
>  ---Sterling
>  Sent from my iPad
>  To get on or off this list see list information at
>  [4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>--
> 
> __
>Anthony Hart   MSc, LLCM,ALCM.
>Musicologist   and   Independent   Researcher
>Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
>Mob: +356 9944 9552.
>e-mail:   [5][6]resea...@antoninoreggio.com; web:
>[6][7]www.monsignor-reggio.com
>NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
>-   [7][8]www.edizionear.com
>for information and special offer
>--
> 
> __
>Anthony Hart   MSc, LLCM,ALCM.
>Musicologist   and   Independent   Researcher
>Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
>Mob: +356 9944 9552.
>e-mail:   [8][9]resea...@antoninoreggio.com; web:
>[9][10]www.monsignor-reggio.com
>NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
>-   [10][11]www.edizionear.com
>for information and special offer
>--
> References
>1. mailto:[12]anthony.hart1...@gmail.com
>2. mailto:[13]spiffys84...@cs.dartmouth.edu
>3. mailto:[14]spiffys84...@cs.dartmouth.edu
>4. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>5. mailto:[16]resea...@antoninoreggio.com
>6. [17]http://www.monsignor-reggio.com/
>7. [18]http://www.edizionear.com/
>8. mailto:[19]resea...@antoninoreggio.com
>9. [20]http://www.monsignor-reggio.com/
>   10. [21]http://www.edizionear.com/
> 
>   --
> 
>   __
>   Anthony Hart  MSc, LLCM,ALCM.
>   Musicologist  and  Independent  Researcher
>   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
>   Mob: +356 9944 9552.
>   e-mail:  [22]resea...@antoninoreggio.com; web:
>   [23]www.monsignor-reggio.com
>   NEW  Publication

[LUTE] 14 Course Powered Tiorbino

[sterling price]

So, as I did 23 years ago I took my old attiorbato and tuned it as a Tiorbino 
(that's an octave theorbo by the way). You have not lived till you've heard De 
Vissee on a solo Tiorbino. This very spiffy instrument can be used wherever a 
solo theorbo is used and it has the added advantage of extreme portability. 
I've been sitting here in the back seat of my Mustang playing theorbo music 
during work breaks. A Tiorbino sounds very distinctive in the lute world. It 
sounds very much like a small harp. Please do thyself a favor and try putting 
Tiorbino strings on thy attiorbato.
---Sterling

Sent from my iPad



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[LUTE] Re: My Lady Careys Dompe

[sterling price]

   Aurthur--
   Thanks for that info. I had seen the harpsichord version on Scribd, but
   no lute version there. O'dette's version is for 6 course lute and seems
   wonderfully complicated so I am hoping someone has it.
   Sterling
 __

   From: AJN <arthurjn...@verizon.net>
   To: spiffys84...@yahoo.com; lute@cs.dartmouth.edu
   Sent: Tuesday, February 21, 2017 10:23 PM
   Subject: [LUTE] Re: My Lady Careys Dompe
   Hello Sterling,
   The harpsichord version is readily available as No. 103 in Apel and
   Davison, _**Historical Anthology of Music**_
   (the famous "HAM" to countless generations of music history students).
   Widely available in most libraries.
   Also see John Ward's article "The 'Dolfull Domps'" in _**JAMS**_ 4
   (1951): 111-21. Ward's description doesn't seem
   to meet the fresh character of the "Lady Carey's Dompe." Today we are
   familiar with a similar term, e.g., "I've been in
   the dumps all week."
   It's such a famous, attractive piece, surely there must be a tablature
   arrangement around somewhere. --ajn
   =======
   On 02/21/17, sterling price 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
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   --

References

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

[LUTE] My Lady Careys Dompe

[sterling price]

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

   --


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[BAROQUE-LUTE] In Search of a Lute

[sterling price]

Hi all--
   I'm in the market for a baroque lute-preferably something with 14
   course-power. The bigger the better (75-77cm)
   Does anyone have or know of such a lute that might be available?
   Thanks!
   Sterling

   --


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[LUTE] Re: New lutenist looking for a first instrument

[sterling price]

   Hi--I have had experience with many types of lutes-- from very
   expensive and great, to very shitty and horrible. The fame and
   reputation of the maker is not always a good indication of how good and
   playable the lute will be. It seem that -many- builders can't seem to
   make a lute with playable action and sometimes even good adult hand
   size string spacing. So like I said-I have 4 of these Turkish Sandi
   lutes and they are quite nice. Yes they are not perfect, but take the
   case of their 14 course attiorbatto. I have had several archlutes and
   attiorbattos from different makers and this Sandi one is the best one I
   have had-- even with its quirks. I don't think these are made in a
   factory.
   Sterling
 __

   From: Jim Dunn 
   To: Jack 
   Cc: lute@cs.dartmouth.edu
   Sent: Friday, November 4, 2016 6:54 AM
   Subject: [LUTE] Re: New lutenist looking for a first instrument
   Hello John,
   I echo David van Ooijen's recommendation that you hire one first! When
   I started that didn't occur to me unfortunately, so I thought I'd share
   my experience with the budget end of the market...
   The first lute I had was a Pakistani made lute of the same variety that
   the sell at Thomann, the site David Morales mentions; and I would agree
   with him on that. Avoid it like the plague â it was huge and completely
   unplayable. I struggled on with it for a while thinking that perhaps I
   was just terrible, but came to the conclusion I should try another
   before giving up. So instead I purchased an Early Music Shop lute, and
   although I'm acutely aware of it's limitations, it is so very much
   better. It is, as you will read everywhere, heavier than a luthier made
   lute, but when the strings were replaced its sound was actually quite
   pleasant! It's required a little bit of work to make it better; work on
   the nut and replacing the frets etc, but there are some good tips on
   improving it here which you may be aware of already:
   [1]http://john.redmood.com/improvebargainlute.html
   Nonetheless, if you can afford better, definitely go better!
   I've never handled the Turkish lutes you mention, but I have read that
   they are pretty heavily constructed and a bit more Oud-like. Looking at
   their price point, I'd question if they are worth it; the price is
   getting towards what a luthier made renaissance student lute would be
   here in the UK (as an example, here's one made by James Marriage
   [2]http://www.jminstruments.com/instruments.aspx ).
   Good luck,
   Jim
   > On 4 Nov 2016, at 09:23, Jack <[3]jackyen...@gmail.com> wrote:
   >
   > Hello all,
   >
   > My name is John Yentes.  I have been a classical guitarist and
   violist for many years (among many other instruments) and am beginning
   my foray into the world of the lute.  I am currently living in Japan
   and am wondering if anyone knows of or is selling a used instrument
   that I could purchase or perhaps if you might also know of some less
   expensive luthiers for decent quality instruments.  I don't mind buying
   something a bit less than perfect as I have already resigned myself to
   the idea of visiting a professional who can adjust the instrument for
   my own specific needs.  I'm looking for an 8 course lute or perhaps a
   baroque lute.  I'm not quite sure which I would prefer to start with,
   but I would be very grateful for any information I could acquire in
   regards to the pros and cons of starting on either instrument
   respectively in regard to my previous experience as a guitarist .  My
   budget is only about 1500 dollars. I have found some lutes on eBay from
   a Turkish maker named !
   Sa!
   > adettin Sandi and his son.  Apparently they are of fairly good
   quality from what I have read.  I have also been considering some
   instruments from the early music shop.  If anyone could provide any
   info for me, I would greatly appreciate it.  I enjoy listening to music
   from the Italian renaissance such as Piccinnini and I also enjoy
   Dowland quite a bit.  I am well versed in the works of baroque music
   available for the lute as well though, so perhaps what I am after is an
   instrument that can play a bit of everything or at least has some
   degree of versatility.  Thanks for reading and I hope to hear back from
   some of you.
   >
   >
   > 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. http://john.redmood.com/improvebargainlute.html
   2. http://www.jminstruments.com/instruments.aspx
   3. mailto:jackyen...@gmail.com
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: New lutenist looking for a first instrument

[sterling price]

   Hi John--I have had -4- of the Sandi lutes and I must say that they are
   pretty great. Not just great for the price but great lutes. They do
   need bigger frets and better strings but once you do that you have a
   great lute. I would totally recommend their 13 course lute. I had one
   but I sold it to a student who needed one, so now I am thinking of
   buying another one. Don't let the low price deter you. I also have
   their 6 course and 9 course as well as the 14 course attiorbato.
   Happy Luting--
   Sterling
 __

   From: Jack 
   To: lute@cs.dartmouth.edu
   Sent: Friday, November 4, 2016 3:23 AM
   Subject: [LUTE] New lutenist looking for a first instrument
   Hello all,
   My name is John Yentes.  I have been a classical guitarist and violist
   for many years (among many other instruments) and am beginning my foray
   into the world of the lute.  I am currently living in Japan and am
   wondering if anyone knows of or is selling a used instrument that I
   could purchase or perhaps if you might also know of some less expensive
   luthiers for decent quality instruments.  I don't mind buying something
   a bit less than perfect as I have already resigned myself to the idea
   of visiting a professional who can adjust the instrument for my own
   specific needs.  I'm looking for an 8 course lute or perhaps a baroque
   lute.  I'm not quite sure which I would prefer to start with, but I
   would be very grateful for any information I could acquire in regards
   to the pros and cons of starting on either instrument respectively in
   regard to my previous experience as a guitarist .  My budget is only
   about 1500 dollars. I have found some lutes on eBay from a Turkish
   maker named Sa!
   adettin Sandi and his son.  Apparently they are of fairly good quality
   from what I have read.  I have also been considering some instruments
   from the early music shop.  If anyone could provide any info for me, I
   would greatly appreciate it.  I enjoy listening to music from the
   Italian renaissance such as Piccinnini and I also enjoy Dowland quite a
   bit.  I am well versed in the works of baroque music available for the
   lute as well though, so perhaps what I am after is an instrument that
   can play a bit of everything or at least has some degree of
   versatility.  Thanks for reading and I hope to hear back from some of
   you.
   John
   Sent from my iPhone
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file:///net/people/lute-arc/L14678-805TMP.html

[BAROQUE-LUTE] Re: Dresden missing pages?

[sterling price]

   - Forwarded Message -
   From: sterling price <spiffys84...@cs.dartmouth.edu>
   To: G. C. <kalei...@gmail.com>
   Sent: Friday, October 28, 2016 8:42 AM
   Subject: Re: [BAROQUE-LUTE] Re: Dresden missing pages?
   Ah dang it--I'm talking about the last d minor sonata in Dresden. The
   one with the killer Allegro. I wrote an insane cadenza for that piece.
   On Barto's volume 8 he lists this as Sonata 36---
 __

   From: G. C. <kalei...@gmail.com>
   To: sterling price <spiffys84...@yahoo.com>
   Cc: Ed Durbrow <edurb...@sea.plala.or.jp>; baroque lute list
   <baroque-lute@cs.dartmouth.edu>
   Sent: Friday, October 28, 2016 8:39 AM
   Subject: Re: [BAROQUE-LUTE] Re: Dresden missing pages?
   36 is the easy one, (but great one) which ev'ryone plays! :)
   G
   On Fri, Oct 28, 2016 at 4:31 PM, sterling price
   <[1]spiffys84...@cs.dartmouth.edu> wrote:

Ok--these are my top -4- Weiss sonatas to play. (in no particular
order)
Sonata 45 in A major
Sonata 40 in C major
Sonata 36 in d minor
Sonata 48 in f# minor
Sterling
  __ __
 __
From: Ed Durbrow <[2]edurb...@sea.plala.or.jp>
To: sterling price <[3]spiffys84...@yahoo.com>; baroque lute list
<[4]baroque-lute@cs.dartmouth.edu >
Sent: Friday, October 28, 2016 12:23 AM
Subject: Re: [BAROQUE-LUTE] Re: Dresden missing pages?
On Oct 28, 2016, at 1:39 PM, sterling price
<[1][5]spiffys84121@cs.dartmouth. edu> wrote:
  Sonata 40 is in my top 3 Weiss sonatas. I
think it shows Weiss--and the Baroque Lute--at their very
 best. It
  just
doesn't get any better than this---
I'm dying to know what your other top 3 are.
Ed Durbrow
Saitama, Japan
[2][6]http://www.youtube.com/ user/edurbrow?feature=watch
[3][7]https://soundcloud.com/ed- durbrow
[4][8]http://www9.plala.or.jp/ edurbrow/
--
 References
1. mailto:[9]spiffys84121@cs. dartmouth.edu
2. [10]http://www.youtube.com/user/ edurbrow?feature=watch
3. [11]https://soundcloud.com/ed- durbrow
4. [12]http://www9.plala.or.jp/ edurbrow/

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

   --

References

   1. mailto:spiffys84...@cs.dartmouth.edu
   2. mailto:edurb...@sea.plala.or.jp
   3. mailto:spiffys84...@yahoo.com
   4. mailto:baroque-lute@cs.dartmouth.edu
   5. mailto:spiffys84...@cs.dartmouth.edu
   6. http://www.youtube.com/user/edurbrow?feature=watch
   7. https://soundcloud.com/ed-durbrow
   8. http://www9.plala.or.jp/edurbrow/
   9. mailto:spiffys84...@cs.dartmouth.edu
  10. http://www.youtube.com/user/edurbrow?feature=watch
  11. https://soundcloud.com/ed-durbrow
  12. http://www9.plala.or.jp/edurbrow/
  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Dresden missing pages?

[sterling price]

   Ok--these are my top -4- Weiss sonatas to play. (in no particular
   order)
   Sonata 45 in A major
   Sonata 40 in C major
   Sonata 36 in d minor
   Sonata 48 in f# minor
   Sterling
 __

   From: Ed Durbrow <edurb...@sea.plala.or.jp>
   To: sterling price <spiffys84...@yahoo.com>; baroque lute list
   <baroque-lute@cs.dartmouth.edu>
   Sent: Friday, October 28, 2016 12:23 AM
   Subject: Re: [BAROQUE-LUTE] Re: Dresden missing pages?
   On Oct 28, 2016, at 1:39 PM, sterling price
   <[1]spiffys84...@cs.dartmouth.edu> wrote:

 Sonata 40 is in my top 3 Weiss sonatas. I
   think it shows Weiss--and the Baroque Lute--at their very best. It
 just
   doesn't get any better than this---

   I'm dying to know what your other top 3 are.
   Ed Durbrow
   Saitama, Japan
   [2]http://www.youtube.com/user/edurbrow?feature=watch
   [3]https://soundcloud.com/ed-durbrow
   [4]http://www9.plala.or.jp/edurbrow/

   --

References

   1. mailto:spiffys84...@cs.dartmouth.edu
   2. http://www.youtube.com/user/edurbrow?feature=watch
   3. https://soundcloud.com/ed-durbrow
   4. http://www9.plala.or.jp/edurbrow/


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

[BAROQUE-LUTE] Re: Dresden missing pages?

[sterling price]

   I have been fascinated by this courante for 20 years. There was a
   reconstruction done by Hans Neeman of the last line which I find very
   unconvincing. There are two great recordings of sonata 40, the first by
   Stephen Stubbs which is phenomenal. His reconstruction of the courante
   must be magic I think. I transcribed his ending from the cd, and when
   written out on the manuscript, the two notes that happen to be visible
   of the missing part match up perfectly with Stubbs version. And there
   is the recording by Robert Barto. I don't like his version of the
   missing part, but that may just be because I was so used to the Stubbs
   version for so long before. I gave Barto my transcription of the Stubbs
   recording but he did his own. Sonata 40 is in my top 3 Weiss sonatas. I
   think it shows Weiss--and the Baroque Lute--at their very best. It just
   doesn't get any better than this---
   Sterling
 __

   From: Ed Durbrow 
   To: Jean-Daniel Forget ; baroque lute
   list 
   Sent: Thursday, October 27, 2016 9:32 PM
   Subject: [BAROQUE-LUTE] Re: Dresden missing pages?
   Well, that explains that!
   Who reconstructed this version of the ending? It is quite convincing.
   On Oct 28, 2016, at 12:54 AM, Jean-Daniel Forget
   <[1]jean-daniel.for...@orange.fr> wrote:
   > Dear Ed,
   > The courante end is lost. This is a possible reconstruction, but this
   is not by Weiss!
   > Jean-Daniel
   >
   >
   >
   > Ed Durbrow a écrit :
   >> That is the one I was talking about. Sonata N ° 40 in C Major I
   already
   >> was guided there by Toshiaki Kakinami.
   >> So I see the second page but there is no ending. I just noticed
   there
   >> seems to be an extra measure or two tacked on in the margin, but it
   is
   >> impossible to make out. I wonder if it ends there. Is there a
   >> concordance anywhere?
   >>
   >> On Oct 26, 2016, at 1:40 PM, Jean-Daniel Forget
   >> <[2]jean-daniel.for...@orange.fr
   > wrote:
   >>
   >>> Hi Ed
   >>>
   >>> See my facsimiles of thi manuscript at:
   >>>
   [4]http://jdf.luth.pagesperso-orange.fr/Musiques/Les_manuscrits/Dresde/
   Le_manuscrit_de_Dresde.htm
   >>>
   >>> Jean-Daniel
   >>>
   >>> Ed Durbrow a écrit :
    In my digital copy of the Dresden manuscript (I forget where I
    downloaded it), it seems some pages are missing, for example, on
   p.80
    of 253, there begins a courant in C but the second half is
   missing.
    The next page is titled Paisane (I think, the n is weird). There
   seem
    to be other places where I noticed a missing page.
    My question is: are these page missing in the original manuscript?
   
   
   
    Ed Durbrow
    Saitama, Japan
    [5]http://www.youtube.com/user/edurbrow?feature=watch
    [6]https://soundcloud.com/ed-durbrow
    [7]http://www9.plala.or.jp/edurbrow/
   
   
   
   
   
   
   
   
    --
   
    To get on or off this list see list information at
    [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   >>>
   >>>
   >>
   >> Ed Durbrow
   >> Saitama, Japan
   >> [9]http://www.youtube.com/user/edurbrow?feature=watch
   >> [10]https://soundcloud.com/ed-durbrow
   >> [11]http://www9.plala.or.jp/edurbrow/
   >>
   >>
   >>
   >>
   >>
   >>
   >>
   > 
   Ed Durbrow
   Saitama, Japan
   [12]http://www.youtube.com/user/edurbrow?feature=watch
   [13]https://soundcloud.com/ed-durbrow
   [14]http://www9.plala.or.jp/edurbrow/
   --

   --

References

   1. mailto:jean-daniel.for...@orange.fr
   2. mailto:jean-daniel.for...@orange.fr
   3. mailto:jean-daniel.for...@orange.fr
   4. 
http://jdf.luth.pagesperso-orange.fr/Musiques/Les_manuscrits/Dresde/Le_manuscrit_de_Dresde.htm
   5. http://www.youtube.com/user/edurbrow?feature=watch
   6. https://soundcloud.com/ed-durbrow
   7. http://www9.plala.or.jp/edurbrow/
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. http://www.youtube.com/user/edurbrow?feature=watch
  10. https://soundcloud.com/ed-durbrow
  11. http://www9.plala.or.jp/edurbrow/
  12. http://www.youtube.com/user/edurbrow?feature=watch
  13. https://soundcloud.com/ed-durbrow
  14. http://www9.plala.or.jp/edurbrow/

[BAROQUE-LUTE] Richard Berg, Andy Rutherford

[sterling price]

Hi all---
   I am in search of anyone who has a Richard Berg or Andy Rutherford 13
   course lute who might be considering selling in the near future. If you
   know of anyone selling--please let me know--
   Sterling

   --


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

[LUTE] Re: lute repair Washington DC area

[sterling price]

   Umm---why don't you just tighten the frets yourself? That's a very
   basic thing every lute player should know how to do. Its like being
   able to tie your shoes as a kid--
   SP
 __

   From: John Mardinly 
   To: "cyndi...@netscape.net" 
   Cc: "lute@cs.dartmouth.edu" 
   Sent: Thursday, September 22, 2016 1:49 PM
   Subject: [LUTE] Re: lute repair Washington DC area
 I had my lute undergo extensive restoration last year by Mel Wong.
 [1][1]http://www.blackbirdstringarts.com/about/
 Just ship by UPS. Mel says he has never had a problem shipping by
   UPS.
 A. John Mardinly, Ph.D., P.E.
 Retired Principal Materials Nanoanalysis Engineer
 EMail: [2][2]john.mardi...@asu.edu
 Cell: [3]408-921-3253 (does not work in TEM labs)
 But don't call the labI won't be there!
 On Sep 22, 2016, at 12:24 PM, [4][3]cyndi...@netscape.net wrote:
   Hello
   I have an 8 course Yamaha lute, about 30 years old. Have not been
 able
   to play it lately because frets are loose, strings won't stay on
   etc.
 I
   would like it to have professional attention.
   I have called around. Not many folks around here have repaired
   lutes.
   They would have to send it out.
   Recommendations?
   Thanks
   Cyndi
   --
 To get on or off this list see list information at

   [5][4]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo
   uth

   .edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Eji

   z41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kR

   VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmX
 uiPzBFq_MPf5sU8=
   References
 1. [5]http://www.blackbirdstringarts.com/about/
 2. mailto:[6]john.mardi...@asu.edu
 3. tel:408-921-3253
 4. mailto:[7]cyndi...@netscape.net
 5.
   [8]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
   .edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Eji
   z41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kR
   VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmX
   uiPzBFq_MPf5sU8=

   --

References

   1. http://www.blackbirdstringarts.com/about/
   2. mailto:john.mardi...@asu.edu
   3. mailto:cyndi...@netscape.net
   4. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
   5. http://www.blackbirdstringarts.com/about/
   6. mailto:john.mardi...@asu.edu
   7. mailto:cyndi...@netscape.net
   8. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kRVCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmXuiPzBFq_MPf5sU8=

[LUTE-BUILDER] 12 course lute

[sterling price]

Hi all--
   I am considering converting a nine course lute to a double head 12
   course. I am looking for plans of the pegbox. Any info would be super.
   Sterling

   --


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

[LUTE] Re: gluing body fret

[sterling price]

   Really--white glue is just fine for body frets.
   SP
   Guess I'll try the white glue. I've been practicing for a week without
   the 9th fret.
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

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

[LUTE] Re: gluing body fret

[sterling price]

   I'm sure everyone has their own ways to deal with this, but I always
   just apply a thin layer of white glue on the bottom of the fret (this
   is about the only place  where white glue is acceptable on a lute).
   Press it down and hold firmly with your hands till dry (2-3 minutes is
   enough). If the glue has squeezout you have put on too much.  The
   critical part is getting the frets in the right place and I don't think
   this can be done without having the strings on and in tune. I've had a
   few new lutes from well known makers where the body frets were off by
   several millimeters.
   SP
 __

   From: Ed Durbrow 
   To: lute list 
   Sent: Tuesday, June 7, 2016 10:18 PM
   Subject: [LUTE] gluing body fret
   The 9th fret (lowest body fret) has come off my main Ren lute. I looked
   for, but could not find any kind of guide about gluing body frets on
   the Internet. Can anyone give me some hints? I was thinking of just
   putting a thin coat of Titebond on the back of the fret and put it in
   the quite visible outline of where the fret was. I wondered about
   putting tape on both sides first to stop the spread of glue or rather
   wiping any excess glue off. Wiping off excess glue would be difficult,
   I think, if I have a weight on the fret while drying.
   Ed Durbrow
   Saitama, Japan
   [1]http://www.youtube.com/user/edurbrow?feature=watch
   [2]https://soundcloud.com/ed-durbrow
   [3]http://www9.plala.or.jp/edurbrow/
   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.youtube.com/user/edurbrow?feature=watch
   2. https://soundcloud.com/ed-durbrow
   3. http://www9.plala.or.jp/edurbrow/
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute Lessons--Seeking Students

[sterling price]

 __

   From: sterling price <spiffys84...@cs.dartmouth.edu>
   To: Lute List <lute@cs.dartmouth.edu>; Baroque Lute List
   <baroque-l...@cs.dartmouth.edu>
   Sent: Tuesday, May 3, 2016 6:30 PM
   Subject: Lute Lessons--Seeking Students
   To the World Lute Community---I am now offering lute lessons via Skype.
   I specialize in baroque lute, archlute and theorbo--(and even
   renaissance lute too!) Please do contact me for more info---
   Sterling

   --


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

[BAROQUE-LUTE] Lute Lessons--Seeking Students

[sterling price]

   To the World Lute Community---I am now offering lute lessons via Skype.
   I specialize in baroque lute, archlute and theorbo--(and even
   renaissance lute too!) Please do contact me for more info---
   Sterling

   --


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

[LUTE] Re: Strings for Liuto attiorbato

[sterling price]

   Kudos to those who are stringing attiorbatos correctly and not using
   single strings. The liuto attiorbato is possibly my favorite lute
   instrument. It is the most versatile of -all- lutes. I have two at the
   moment and I'm planning on converting my ten course into a 14 course
   attiorbato. The very first lute I owned was an attiorbato so maybe I
   have a soft spot for them. I can't stand to see or hear them single
   strung. The sound of that 14th course F with the correct strings and
   double strung is a divine sound.
   SP
 __

   From: Mathias RAP:sel 
   To: d...@dolcesfogato.com; 'Lute List' 
   Sent: Sunday, April 17, 2016 12:56 PM
   Subject: [LUTE] Re: Strings for Liuto attiorbato
   Dear Martin, Leonard, David, Arto,
   Thank you very much for your quick replies! Much appreciated!
   Mathias
   -UrsprA 1/4ngliche Nachricht-
   Von: [1]d...@dolcesfogato.com [mailto:[2]d...@dolcesfogato.com]
   Gesendet: Sonntag, 17. April 2016 18:06
   An: 'Mathias RAP:sel'; 'Lute List'
   Betreff: RE: [LUTE] Strings for Liuto attiorbato
   Take a look at Dan Larson's gimped strings. The work well.
   David
   -Original Message-
   From: [3]lute-...@cs.dartmouth.edu
   [mailto:[4]lute-...@cs.dartmouth.edu] On Behalf
   Of Mathias RAP:sel
   Sent: Sunday, April 17, 2016 6:17 AM
   To: 'Lute List' <[5]lute@cs.dartmouth.edu>
   Subject: [LUTE] Strings for Liuto attiorbato
   Dear Collected Wisdom,
   As I'm planning the stringing of a liuto attiorbato, I've encountered
   some
   difficulties. It will have seven courses on the fretboard with 58 cm
   VSL and
   seven courses on the second peg box with 84 cm VSL (fundamentals and
   octaves).
   Pitch is a' = 415 Hz, tension is normal (2.86 kg per fretboard string,
   3.06
   kg per fundamental, 2.75 kg per octave string)
   Paul Beier's string calculator suggests that Savarez NF strings be
   taken for
   the 6th to 14th fundamentals (copper wound nylon strings).
   The reasons seems to be that the calculator apparently considers gut
   strings
   thicker than 1.5 mm problematic. And they may be so.
   It is my conviction, though, that lutes shouldn't be strung with metal
   wound
   strings.
   The easy solution would be ordering loaded gut strings from Aquila. It
   is my
   understanding, though, that Mimmo is currently not producing his
   excellent
   loaded gut strings.
   Martin Shepherd, in his interesting article on building a liuto
   attiorbato,
   writes that he took "Savarez KF (a kind of harp string) for the
   basses". I
   looked up their charts but couldn't discover tensions and pitches,
   unfortunately.
   Suggestions very much appreciated!
   Mathias
   --
   To get on or off this list see list information at
   [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:d...@dolcesfogato.com
   2. mailto:d...@dolcesfogato.com
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: removing the body frets from a lute

[sterling price]

 It is really quite easy. Takes about 10 seconds per fret and does no
   damage to the top.
   I've had many lutes and never once was happy with the frets as they
   came from the maker. But I do love playing in high positions.
   SP
 __

   From: Matthew Daillie <dail...@club-internet.fr>
   To: Sterling Price <spiffys84...@yahoo.com>; Kyle Patterson
   <patterk...@gmail.com>
   Cc: Lute List <lute@cs.dartmouth.edu>
   Sent: Thursday, January 21, 2016 4:16 PM
   Subject: Re: [LUTE] Re: removing the body frets from a lute
   Definitely not something I would try. Martin's suggestions sound far
   less adventurous (hardly surprising as he is a professional maker). I
   have never encountered problems with body frets on my lutes.
   Best
   Matthew
   On 21/01/2016 22:31, Sterling Price wrote:
   > Just pry them off with a razor blade. I've done it many times. Seems
   like a lot of builders have trouble getting body frets right. Almost
   always way too small and in the wrong place.
   > SP
   >
   > Sent from my iPad
   >
   >> On Jan 21, 2016, at 12:13 PM, Kyle Patterson
   <[1]patterk...@gmail.com> wrote:
   >>
   >>Hello Lutenet,
   >>Does anyone have any advice for removing the body frets on a
   lute? (The
   >>10th-12th frets on my lute are horrendously out of tune and the
   builder
   >>seems to have changed his email address.)
   >>Should I just try a small knife underneath the fret? I worry
   about
   >>accidentally scraping wood off of the soundboard.
   >>I'd appreciate any help you could give me.
   >>Thanks,
   >>Kyle
   >>
   >>--
   >>
   >>
   >> To get on or off this list see list information at
   >> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >
   > -
   > Aucun virus trouve dans ce message.
   > Analyse effectuee par AVG - www.avg.fr
   > Version: 2016.0.7357 / Base de donnees virale: 4522/11452 - Date:
   21/01/2016
   >
   >

   --

References

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

[LUTE] A Lute of Six Courses

[sterling price]

Dear list--
   Yesterday I got a new six course lute. This is the first time I have
   really played one.
   Question--is there an octave generally on the fourth course? Say for
   Milano and such. But I also plan to play vihuela music on this, so then
   no octaves?
   Sterling

   --


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[BAROQUE-LUTE] Re: Bach BWV846 Prelude n. 1

[sterling price]

   I tried this prelude many years ago. I found that to do it in C major a
   low G was necessary.
   Sterling
 __

   From: "l...@manassero.net" 
   To: baroque-lute@cs.dartmouth.edu
   Sent: Sunday, December 20, 2015 8:26 AM
   Subject: [BAROQUE-LUTE] Bach BWV846 Prelude n. 1
   Dear collective wisdom,
   I grew curious to hear how the well known Prelude in C major from Bach'
   First Book of the Wohltemperierte Klavier (BWV846) would sound on a
   baroque lute.
   Before getting involved in such an exercise...: did any of you wise
   lutenists already transcribed it for Baroque lute?
   Thank you in advance!
   Luca
   --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

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

[LUTE] Re: Fun interview with Sterling Price

[Sterling Price]

   I'm used to 5-10 percent humidity here in Utah and guitars still get
   muggy
   Sent from my iPad

   On Oct 6, 2015, at 4:33 PM, John Mardinly <[1]john.mardi...@asu.edu>
   wrote:

 Visit Arizona. Nothing sounds "muggy" here.

   A. John Mardinly, Ph.D., P.E.
   Principal Materials Nanoanalysis Engineer
   EMail: [2]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
   [9]PO Box 871704
   [10]Tempe, AZ 85287-1704

   On Oct 5, 2015, at 3:02 PM, sterling price
   <[11]spiffys84...@cs.dartmouth.edu> wrote:

 It was a neat interview. How would others have answered the
 presidential candidate question? I was going to say that the lute is
 Bernie Sanders but I couldn't think of a pithy reason why.
 Sterling
   __
 From: Chris Barker <[12]csbarker...@att.net>
 To: 'Charles Mokotoff' <[13]mokot...@gmail.com>; 'LuteNet list'
 <[14]lute@cs.dartmouth.edu>
 Sent: Monday, October 5, 2015 2:33 PM
 Subject: [LUTE] Re: Fun interview with Sterling Price
 Let's see here...  I have three Trumps, and one that rises above it
 all, but
 where does that leave my vihuela?
 -Original Message-
 From: [1][15]lute-...@cs.dartmouth.edu
 [mailto:[2][16]lute-...@cs.dartmouth.edu] On Behalf
 Of Charles Mokotoff
 Sent: Monday, October 05, 2015 2:15 PM
 To: LuteNet list <[3][17]lute@cs.dartmouth.edu>
     Subject: [LUTE] Fun interview with Sterling Price
 [1][4][18]http://www.cityweekly.net/utah/sterling-prices/Content?oid=
   300632
 9
   "The lute, of course, rises above politics."
   The guitar is Donald Trump though? ;)
   --
 References
   1.
 [5][19]http://www.cityweekly.net/utah/sterling-prices/Content?oid=300
   6329
 To get on or off this list see list information at
 [6][20]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [21]mailto:lute-...@cs.dartmouth.edu
 2. [22]mailto:lute-...@cs.dartmouth.edu
 3. [23]mailto:lute@cs.dartmouth.edu
 4.
   [24]http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
 5.
   [25]http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
 6. [26]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:john.mardi...@asu.edu
   2. mailto:john.mardi...@asu.edu
   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. x-apple-data-detectors://6/
  10. x-apple-data-detectors://6/
  11. mailto:spiffys84...@cs.dartmouth.edu
  12. mailto:csbarker...@att.net
  13. mailto:mokot...@gmail.com
  14. mailto:lute@cs.dartmouth.edu
  15. mailto:lute-...@cs.dartmouth.edu
  16. mailto:lute-...@cs.dartmouth.edu
  17. mailto:lute@cs.dartmouth.edu
  18. http://www.cityweekly.net/utah/sterling-prices/Content?oid=300632
  19. http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
  20. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  21. mailto:lute-...@cs.dartmouth.edu
  22. mailto:lute-...@cs.dartmouth.edu
  23. mailto:lute@cs.dartmouth.edu
  24. http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
  25. http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
  26. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Fun interview with Sterling Price

[sterling price]

   It was a neat interview. How would others have answered the
   presidential candidate question? I was going to say that the lute is
   Bernie Sanders but I couldn't think of a pithy reason why.
   Sterling
 __

   From: Chris Barker <csbarker...@att.net>
   To: 'Charles Mokotoff' <mokot...@gmail.com>; 'LuteNet list'
   <lute@cs.dartmouth.edu>
   Sent: Monday, October 5, 2015 2:33 PM
   Subject: [LUTE] Re: Fun interview with Sterling Price
   Let's see here...  I have three Trumps, and one that rises above it
   all, but
   where does that leave my vihuela?
   -Original Message-
   From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
   Of Charles Mokotoff
   Sent: Monday, October 05, 2015 2:15 PM
   To: LuteNet list <[3]lute@cs.dartmouth.edu>
   Subject: [LUTE] Fun interview with Sterling Price

   [1][4]http://www.cityweekly.net/utah/sterling-prices/Content?oid=300632
   9
 "The lute, of course, rises above politics."
 The guitar is Donald Trump though? ;)
 --
   References
 1.
   [5]http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
   To get on or off this list see list information at
   [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:lute-...@cs.dartmouth.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute@cs.dartmouth.edu
   4. http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
   5. http://www.cityweekly.net/utah/sterling-prices/Content?oid=3006329
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Fun interview with Sterling Price

[sterling price]

   Unkind perhaps--but so true...
   Sterling
 __

   From: Ed Durbrow <edurb...@sea.plala.or.jp>
   To: sterling price <spiffys84...@yahoo.com>; LuteNet list
   <lute@cs.dartmouth.edu>
   Sent: Monday, October 5, 2015 8:02 PM
   Subject: [LUTE] Re: Fun interview with Sterling Price
   I thought it was an excellent response concerning the lute. A pretty
   unkind cut to guitars though.
   On Oct 6, 2015, at 7:02 AM, sterling price
   <[1]spiffys84...@cs.dartmouth.edu> wrote:
   >  It was a neat interview. How would others have answered the
   >  presidential candidate question? I was going to say that the lute is
   >  Bernie Sanders but I couldn't think of a pithy reason why.
   >  Sterling
   Ed Durbrow
   Saitama, Japan
   [2]http://www.youtube.com/user/edurbrow?feature=watch
   [3]https://soundcloud.com/ed-durbrow
   [4]http://www9.plala.or.jp/edurbrow/
   --
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:spiffys84...@cs.dartmouth.edu
   2. http://www.youtube.com/user/edurbrow?feature=watch
   3. https://soundcloud.com/ed-durbrow
   4. http://www9.plala.or.jp/edurbrow/
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] John come kiss me now

[sterling price]

   Can someone direct me to the source of this title as played by O'Dette
   on the album 'Robin Hood'?
   Thanks!
   Sterling

   --


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

[LUTE] Re: John come kiss me now

[sterling price]

   Thanks to those who directed me to it. I now have it.
   Sterling
 __

   From: Kyle Patterson <patterk...@gmail.com>
   To: sterling price <spiffys84...@yahoo.com>
   Cc: Lute List <lute@cs.dartmouth.edu>
   Sent: Friday, September 18, 2015 8:50 PM
   Subject: Re: [LUTE] John come kiss me now
   It's from the John Sturt lutebook. You can find a copy of the facsimile
   on Sarge Gerbode's website:
   [1]http://www.gerbode.net/facsimiles/british_library/BL_MS_Add_38539_jo
   hn_sturt_lute_book/
   "John com kisse mee now" starts on page 11v.
   On Fri, Sep 18, 2015 at 9:35 PM, sterling price
   <[2]spiffys84...@cs.dartmouth.edu> wrote:

Can someone direct me to the source of this title as played by
 O'Dette
on the album 'Robin Hood'?
Thanks!
Sterling
--
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. 
http://www.gerbode.net/facsimiles/british_library/BL_MS_Add_38539_john_sturt_lute_book/
   2. mailto:spiffys84...@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Taylor Swift

[Sterling Price]

Actually the correct spelling is d'oh!





Sent from my iPad

> On Sep 2, 2015, at 5:01 PM, Mayes, Joseph  wrote:
> 
> Dough!!!
> 
> 
>> On 9/2/15 5:51 PM, "Braig, Eugene"  wrote:
>> 
>> Sorry, Joe.  That's Foreigner.
>> 
>> Eugene
>> 
>> 
>> From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of
>> Mayes, Joseph [ma...@rowan.edu]
>> Sent: Wednesday, September 02, 2015 4:57 PM
>> To: David van Ooijen; John Mardinly
>> Cc: lute list
>> Subject: [LUTE] Re: Taylor Swift
>> 
>> My daughter is into "Journey." Is there a renaissance guitar version of
>> "Juke Box Hero" out there?
>> 
>> Joseph
>> 
>> 
>>> On 9/2/15 3:25 PM, "David van Ooijen"  wrote:
>>> 
>>>   Haha! Look for MeesterDavidGitaar on YouTube ( that's me in my other
>>>   life, one of my other lives). I did several Taylor Swift
>>>   covers/arrangements. I think Never Grow Up would lend itself well to
>>>   lute. Safe and Sound too. Ask your daughter which one  she likes best
>>>   and I'll see what I can do.
>>>   David
>>> 
>>>   On Wednesday, September 2, 2015, John Mardinly
>>>   <[1]john.mardi...@asu.edu> wrote:
>>> 
>>>OK, now for something completely different: I have a 13 year old
>>>daughter who is into Taylor Swift. Big time.   I told her I would
>>> play
>>>some Taylor Swift songs on the lute. Do any arrangements exist,
>>> or is
>>>this something I am going to have to do myself?
>>>A. John Mardinly, Ph.D., P.E.
>>>Principal Materials Nanoanalysis Engineer
>>>EMail: [1]john.mardi...@asu.edu
>>>Cell: 408-921-3253 (does not work in TEM labs)
>>>Titan Lab: 480-727-5651
>>>NION UltraSTEM Lab: 480-727-5652
>>>JEOL ARM 200 Lab: 480-727-5653
>>>2010F Lab: 480-727-5654
>>>Office: 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
>>>--
>>> References
>>>1. mailto:[2]john.mardi...@asu.edu
>>> To get on or off this list see list information at
>>> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>> 
>>>   --
>>> 
>>>   ***
>>>   David van Ooijen
>>>   [4]davidvanooi...@gmail.com
>>>   [5]www.davidvanooijen.nl
>>>   ***
>>> 
>>>   --
>>> 
>>> References
>>> 
>>>   1. mailto:john.mardi...@asu.edu
>>>   2. javascript:;
>>>   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>   4. mailto:davidvanooi...@gmail.com
>>>   5. http://www.davidvanooijen.nl/
> 
> 
> 
> 

[LUTE] Re: Piccinini

[sterling price]

   Hi--and this brings up a desire of mine to hear more players use a true
   liuto attiorbato--that is with octave strings on all the basses. I find
   the liuto attiorbato much more satisfying than the archlute with single
   basses. And what is really annoying--an attiorbato with single strings.
   I have two rather small liuto attiorbatos (fingerboard sl at 57cm).My
   dream is to have one set up as follows-- 64/100cm.
   Sterling
 __

   From: Bruno Figueiredo 
   To: Lutelist 
   Sent: Monday, August 31, 2015 3:55 PM
   Subject: [LUTE] Re: Piccinini
 Hi Monica, both books are for the same instrument, which is a liuto
 attiorbato. The author tells in the preface of the 1623 edition the
 number of courses intended and the tunning. There is also some tips
 about technique for both the lute and the chitarrone. The second book
 is posthumous, lots of printing errors but the same instrument
 intended. You don't need to check piece by piece!
 2015-08-31 13:24 GMT-03:00 Monica Hall <[1][1]mjlh...@tiscali.co.uk>:
   There are two books of music by Piccinini, Intavolatura di
   liuto
   et di
   chitarrone (1623) and Intavolatura di liuto (1639).Is there
   any
   difference between the instruments intended for the pieces in
   each
   book.Are some of them for just a 6-course instrument and
   others for
   an instrument with extra bass strings or are all of them for
   the
   latter.How can one tell the difference without going
   through
   every
   pieces looking for extra figures above the stave?
   Monica
   --
   To get on or off this list see list information at
   [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
 Bruno Figueiredo
 Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 historicamente informada no alaA-ode e teorba.
 Doutor em PrA!ticas Interpretativas  pela
 Universidade Federal do Estado do Rio de Janeiro.
 --
   References
 1. mailto:[3]mjlh...@tiscali.co.uk
 2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

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

[LUTE-BUILDER] Brace Material

[sterling price]

   Hi all--I am looking for good lute brace wood that isn't aimed at
   guitar builders. Any ideas?
   Also--does anyone have info about Edlinger lute bracing? I have two
   plans of Edlinger (AR969 and the Burkholzer) but they do not show the
   interior. I have decided that I want to focus on the Edlinger school of
   lute building and any info would be great.
   Thanks!
   Sterling

   --


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

[BAROQUE-LUTE] Re: Buxtehude and Pachelbel (better layout?)

[Sterling Price]

Many thanks to all who responded-- especially as usual to Arthur for the great 
information.
Sterling

Sent from my iPad

 On Aug 19, 2015, at 1:48 PM, AJN arthurjn...@verizon.net wrote:
 
   Hi, Sterling!
 
 
   You were asking about the Buxtehude Suite in E minor (BuxWV
   236) recorded by Walter Gerwig around 1954. In his recordings he
   invariably used modern printed editions in pitch notation.  In this
   case most likely Bo Lundgren's edition (see below).  There is confusion
   because Gerwig transposed the suite from E minor to  C minor, and does
   not provide the BuxWV number.
 
 
   The various scores, tablatures, etc., are listed below.
 
   ---
   --
 
   The Pachelbel Suite in F sharp minor provides additional confusion.
   One might even suggest a scam by an unscrupulous antiquarian dealer,
   who represented the manuscript as an autograph of Johann Pachelbel
   (1653-1706), copied in Nurnberg (where he worked from 1695 until his
   death)--hence the Autogr shelf number.  The dealer's statement in
   writing appears with the manuscripts.
 
 
   I examined the manuscriprt in person some years ago.
 
 
   The bifolio gatherings had the remains of glue used by the
   bookbinder to attach the paper to the spine.  That is, the pages had
   been gathered from a disbound volume, to make many easily sold
   inexpensive fascicles. To be precise from the disbound manuscripts from
   the Harrach palace in Rohrau, mostly now in the New York Public Library
   (JOG 72-29). Some of those also have remainders of
 
   binder's glue on the fold. Those separated gatherings include pieces by
   the same copyist, as Marcus Lutz has pointed out.
 
 
   Bob Spencer also owned some separated gatherings from the Harrach
   manuscript. And others await discovery.
 
 
   That manuscript dates from the mid-eighteenth century, suggesting the
   composer  of Ms autogr 2353ba is more likely Johann's son, Wilhelm
   Hieronymus Pachelbel (1686-1764).  Probably not the other son, Charles
   Theodore Pachelbel (1690-1750), who resided in Boston before settling
   in South Carolina.g  [sorry for the plug.]
 
   ===
 
   Citations:
 
   Buxtehude, Dietrich, 1637-1707.
 
   Vier Suiten fA 1/4r Clavichord oder Lauten /Diderich Buxtehude ;
 
   aus der Tabulatur A 1/4bertragen und hrsg. von Bo Lundgren.
 
   KA,benhavn : EngstrA,m  SA,dring ; New York : C. F. Peters, [pref.
   1954]
 
   Contains suites in C (BuxWV 231), in F (BuxWV 238),
 
   in em (BuxWV 236), in F (BuxWV 239) edited from Uppsala,
 
   Universitetsbiblioteket, Ihre Ms, fols. 17-41 (keyboard tablature for
   clavier).
 
 
   Facsimile and grandstaff transcription from the Ryge MS,
 
   Copenhagen, Det Konglige Bibliotek, Mu6806.1399.
 
   [1]http://imslp.org/wiki/Category:Buxtehude,_Dietrich
 
   scroll down to Suite in E minor
 
 
   Suite BuxWV 236 [in E minor in French lute tablature]
   Composer: Dietrich Buxtehude; (arr. Wilfred Foxe)
   Publisher: [Luebeck] : Tree Edition, (c)2006.
 
 
   Title: The Baroque lute.
   Lutenist Walter Gerwig;
 
   Publisher: Nonesuch Records H 71229. [1969]
 
   --J. S. Bach BWV 995 Suite in G minor
 
   --D. Buxtehude Suite (BuxWV 236, performed in c minor)
 
   --Pachelbel, Suite in f# minor
 
   LP is Online: [2]https://www.youtube.com/watch?v=FTX0MycryIA
 
 
   =
 
   Pachelbel:
 
   D-Nst (Stadtbibliothek!!) Ms autogr 2353ba: Suite by Pachelbel
 
   in F# minor and pieces in Bb and C.
 
   On line facsimile
 
   [3]https://www.scribd.com/doc/143583318/D-Nst-Ms-2353-a-b-Pachelbel
 
 References
 
   1. http://imslp.org/wiki/Category:Buxtehude,_Dietrich
   2. https://www.youtube.com/watch?v=FTX0MycryIA
   3. https://www.scribd.com/doc/143583318/D-Nst-Ms-2353-a-b-Pachelbel
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Buxtehude

[sterling price]

   Many thanks to all who responded about Buxtehude. I find his music
   interesting and I'm planning to try many harpsichord suites of his on
   the lute. Besides that--Buxtehude is just fun to say. It's a good name
   for a cat...
   Sterling
 __

   From: r.turov...@gmail.com r.turov...@gmail.com
   To: Daniel F. Heiman heiman.dan...@juno.com; 'baroque lute list'
   baroque-lute@cs.dartmouth.edu
   Sent: Monday, August 17, 2015 7:33 PM
   Subject: [BAROQUE-LUTE] Re: Buxtehude
 I have an arrangement from 2 Buxtehude suites (BuxWV 241/244)
 ##53-56 at
 [1][1]http://polyhymnion.org/swv/opus-2.html
 and these work a lot better than the Gerwig pieces.
 There is a video as well.
 RT
 On 8/17/2015 9:19 PM, Daniel F. Heiman wrote:
   Also here:
   [2][2]http://www.free-scores.com/download-sheet-music.php?pdfr77
   Daniel
   -Original Message-
   From: [3][3]lute-...@cs.dartmouth.edu
   [[4]mailto:[4]lute-...@cs.dartmouth.edu] On Beha
   lf
   Of Richard Darsie
   Sent: 17 August, 2015 16:13
   To: Undisclosed-recipients:
   Cc: baroque lute list
   Subject: [BAROQUE-LUTE] Re: Buxtehude
 For those interested, there is tab here

   [1][5][5]http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmand
   e_Cour
 _Sar_Gig.pdf
 and the entire Walter Gerwig album is here:
 [2][6][6]https://www.youtube.com/watch?v=FTX0MycryIA
 Cheers,
 Richard
 On Mon, Aug 17, 2015 at 2:01 PM, Sterling Price
 [7][3][7]spiffys84...@cs.dartmouth.edu wrote:
   Hi all. I'm looking for the buxtehude suite on Gerwigs album from
   the 1960s. I had heard that there was an 18th century version for
   lute, but then I read that wasn't the case. Also the pachelbel
   suite
   on the same album I'd love to have.
   Thanks!
   Sterling
   Sent from my iPad
   To get on or off this list see list information at
   [4][8][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1.
   [9][9]http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_C
   our_Sar_Gig
   .pdf
 2. [10][10]https://www.youtube.com/watch?v=FTX0MycryIA
 3. [11]mailto:[11]spiffys84...@cs.dartmouth.edu
 4. [12][12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [13]http://polyhymnion.org/swv/opus-2.html
 2. [14]http://www.free-scores.com/download-sheet-music.php?pdfr77
 3. mailto:[15]lute-...@cs.dartmouth.edu
 4. mailto:[16]lute-...@cs.dartmouth.edu
 5.
   [17]http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cou
   r
 6. [18]https://www.youtube.com/watch?v=FTX0MycryIA
 7. mailto:[3][19]spiffys84...@cs.dartmouth.edu
 8. [20]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 9.
   [21]http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cou
   r_Sar_Gig
 10. [22]https://www.youtube.com/watch?v=FTX0MycryIA
 11. mailto:[23]spiffys84...@cs.dartmouth.edu
 12. [24]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://polyhymnion.org/swv/opus-2.html
   2. http://www.free-scores.com/download-sheet-music.php?pdfr77
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-...@cs.dartmouth.edu
   5. http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cour
   6. https://www.youtube.com/watch?v=FTX0MycryIA
   7. mailto:spiffys84...@cs.dartmouth.edu
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. 
http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cour_Sar_Gig
  10. https://www.youtube.com/watch?v=FTX0MycryIA
  11. mailto:spiffys84...@cs.dartmouth.edu
  12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  13. http://polyhymnion.org/swv/opus-2.html
  14. http://www.free-scores.com/download-sheet-music.php?pdfr77
  15. mailto:lute-...@cs.dartmouth.edu
  16. mailto:lute-...@cs.dartmouth.edu
  17. http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cour
  18. https://www.youtube.com/watch?v=FTX0MycryIA
  19. mailto:spiffys84...@cs.dartmouth.edu
  20. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  21. 
http://earlymusicstudio.com/wp-content/uploads/2014/07/Allmande_Cour_Sar_Gig
  22. https://www.youtube.com/watch?v=FTX0MycryIA
  23. mailto:spiffys84...@cs.dartmouth.edu
  24. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Buxtehude

[Sterling Price]

Hi all. I'm looking for the buxtehude suite on Gerwigs album from the 1960s. I 
had heard that there was an 18th century version for lute, but then I read that 
wasn't the case. Also the pachelbel suite on the same album I'd love to have.
Thanks! 
Sterling

Sent from my iPad



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

[LUTE] Re: Lute Strap

[Sterling Price]

I always use a nice screw to strengthen the pegbox to neck joint as this is the 
way I was taught in lute building. What do other lute makers do? I am at the 
moment making a triple beg box for a baroque lute and am about to configure the 
screw and joint. Lutes always have a screw or nail at the neck block, so why 
not at the pegbox too?
Sterling

Sent from my iPad

 On Jul 27, 2015, at 11:38 AM, Charles Mokotoff mokot...@gmail.com wrote:
 
 Sean,
 I'd love to see a picture of that if you can point at one?
 
 Anyone else having pictures to go with their various strap configurations, 
 feel free to chime in. 
 
 
 
 On Jul 27, 2015, at 1:32 PM, Sean Smith lutesm...@mac.com wrote:
 
 
 Hi Herbert,
 
 When I'm playing and wearing the strap, its pull is about 35 degrees away 
 from the line of the neck (to the bridge). If you were looking straight at 
 the belly, the strings would pull away to the left, to the rear and at an 
 acute angle to the neck. The strings, after they bend around the nut, pull 
 the pegox into the join at the neck at about 35 kg (338 N if I've read my 
 StringCalc app correctly for my 6c). I can't see how the weight of the lute 
 pulling on the pegbox from *any* direction will significantly compete with 
 those 35 kg and its hide glue adhesive. The strap pulls from two strings: 
 one placed near the join and one towards the other end of the pegbox and 
 they pull, more or less, equally.
 
 Apparently I'm not understanding your observation. 
 
 But fret not; I do worry a little. The endpin is only held in by friction 
 (and a paper shim to give it the right diameter). I make sure _never_ to 
 pull the strap from the bottom away from the lute!
 
 Sean
 
 
 
 On Jul 27, 2015, at 9:49 AM, Herbert Ward wrote:
 
 The force from the strap (to some extent) counters the force from the
 strings.  The strings pull the pegbox in one direction, and
 the strap pulls it in more-or-less the opposite direction, so there
 is a cancellation effect.
 
 A strap at the pegbox would be much worse if it pulled in
 the same direction as the strings.
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 

[LUTE] Re: Lute Strap

[Sterling Price]

   Remember that pegbox joint often has a large screw holding it together.
   I recently took apart a pegbox joint and it was not easy. Also--
   archlutes and theorbos always use a strap attached to the pegbox.

   Sterling
   Sent from my iPad

   On Jul 23, 2015, at 1:46 PM, Ron Andrico [1]praelu...@hotmail.com
   wrote:

   I agree with Chris that tying a strap to the pegbox is not an ideal
   choice.  It's not as though you're spanking the plank a la some of our
   Telecaster brethren, but I've always felt a bit uneasy about undoing
   that glue joint.  I once witnessed one of my students wrench his pegbox
   clean off while in the midst of learning the zen of tuning.
   Luthiers could probably wade into the discussion but my guess is that
   it would take very little force to break that glue joint.  Especially
   if (unlike the characters in the videos) you play a proper lute with a
   reasonably robust string length.
   RA
Date: Thu, 23 Jul 2015 15:07:12 -0400
To: [2]spiffys84...@yahoo.com
CC: [3]csbarker...@att.net; [4]lute@cs.dartmouth.edu
From: [5]mokot...@gmail.com
Subject: [LUTE] Re: Lute Strap
   
I was wondering same.
   
   
   
 On Jul 23, 2015, at 3:02 PM, Sterling Price
   [6]spiffys84...@yahoo.com wrote:

 Just curious-- has anyone ever had or heard of a pegbox failing
   because of a strap? It should be fine if one ties the strap as close as
   possible to the joint.
 Sterling

 Sent from my iPad

 On Jul 23, 2015, at 10:23 AM, Chris Barker
   [7]csbarker...@att.net wrote:

 I have noticed one recurring mistake that lutenists are making
   with straps.
 I'm no bigtime performer, just an amateur for fifty years, but I
   have built
 a number of Lutes and Vihuelas, and I see a problem some lutenists
   are
 making with their straps. Attaching a strap to a button that is
   pinned
 through the end of the lute and into the tail block is just fine.
   Attaching
 a strap to the pegbox is NOT. The pegbox is already under a great
   deal of
 tension from the strings. The added tension from a strap, no
   matter how
 slight, is just multiplying the chances for a difficulty to occur.
   It is
 always advisable to mount a button through the center stave and
   into the
 neck block less than an inch from the neck/body joint. On Vihuelas
   and
 Baroque and Renaissance Guitars the button should be pinned
   through the neck
 block centered and less than an inch from the heel, or into the
   heel itself
 if it is large enough. I have done this, and it works. Others have
   been
 happy with it as well.

 Chris

 -Original Message-
 From: [8]lute-...@cs.dartmouth.edu
   [[9]mailto:lute-...@cs.dartmouth.edu] On Behalf
 Of Charles Mokotoff
 Sent: Thursday, July 23, 2015 6:44 AM
 To: LuteNet list [10]lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Lute Strap

 Thanks to everyone for the replies. What is clear from my looking
   the
 URLs over is that:
 1. No one in the USA is selling these
 2. They are a bit expensive for what you get
 However, I understand that some of these are quite beautiful and
   much
 nicer than anything I could probably cobble together.
 More importantly, I played around with my version some more and
   noticed
 that, yes, the lute is sitting stable on the RIGHT thigh, rather
   than
 in between the thighs with a footstool, (essentially I hold the
 instrument as if it were a classical guitar). This used to work in
   my
 younger years, not so much now. But, playing thumb out and using
   the
 strap, it still is uncomfortable and tends to put my hand over the
   rose
 or even closer to the neck. Perhaps just needs some time to
   adjust?
 Nigel North's strap configuration looks a bit different than what
   Paul
 uses:
 [1][11]https://youtu.be/c7wLjIF1N5o
 Thanks, again.

 On Wed, Jul 22, 2015 at 4:07 PM, Charles Mokotoff
 [2][12]mokot...@gmail.com wrote:

 Does anyone know where I could get this strap that Paul O'Dette
 is
 referring to in this interview?
 [1][3][13]https://youtu.be/tQ5vltWA0IY?t=15m27s
 I have tried jury-rigging something similar but it isn't working
 all
 that well for me. My lute looks about the same size as the
 instrument
 Paul is holding.
 Thanks for any words of wisdom on this, I've been wanting to sit
 differently for some time.
 --
 References
 1. [4][14]https://youtu.be/tQ5vltWA0IY?t=15m27s
 To get on or off this list see list information at
 [5][15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

 --

 References

 1. [16]https://youtu.be/c7wLjIF1N5o
 2. [17]mailto:mokot...@gmail.com
 3. [18]https://youtu.be/tQ5vltWA0IY?t=15m27s
 4. [19]https://youtu.be/tQ5vltWA0IY?t=15m27s
 5. [20]http

[LUTE] Re: Lute Strap

[Sterling Price]

Just curious-- has anyone ever had or heard of a pegbox failing because of a 
strap? It should be fine if one ties the strap as close as possible to the 
joint.
Sterling

Sent from my iPad

 On Jul 23, 2015, at 10:23 AM, Chris Barker csbarker...@att.net wrote:
 
 I have noticed one recurring mistake that lutenists are making with straps.
 I'm no bigtime performer, just an amateur for fifty years, but I have built
 a number of Lutes and Vihuelas, and I see a problem some lutenists are
 making with their straps.  Attaching a strap to a button that is pinned
 through the end of the lute and into the tail block is just fine.  Attaching
 a strap to the pegbox is NOT.  The pegbox is already under a great deal of
 tension from the strings.  The added tension from a strap, no matter how
 slight, is just multiplying the chances for a difficulty to occur.  It is
 always advisable to mount a button through the center stave and into the
 neck block less than an inch from the neck/body joint.  On Vihuelas and
 Baroque and Renaissance Guitars the button should be pinned through the neck
 block centered and less than an inch from the heel, or into the heel itself
 if it is large enough.  I have done this, and it works.  Others have been
 happy with it as well.
 
 Chris
 
 -Original Message-
 From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
 Of Charles Mokotoff
 Sent: Thursday, July 23, 2015 6:44 AM
 To: LuteNet list lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Lute Strap
 
   Thanks to everyone for the replies. What is clear from my looking the
   URLs over is that:
   1. No one in the USA is selling these
   2. They are a bit expensive for what you get
   However, I understand that some of these are quite beautiful and much
   nicer than anything I could probably cobble together.
   More importantly, I played around with my version some more and noticed
   that, yes, the lute is sitting stable on the RIGHT thigh, rather than
   in between the thighs with a footstool, (essentially I hold the
   instrument as if it were a classical guitar). This used to work in my
   younger years, not so much now. But, playing thumb out and using the
   strap, it still is uncomfortable and tends to put my hand over the rose
   or even closer to the neck. Perhaps just needs some time to adjust?
   Nigel North's strap configuration looks a bit different than what Paul
   uses:
   [1]https://youtu.be/c7wLjIF1N5o
   Thanks, again.
 
   On Wed, Jul 22, 2015 at 4:07 PM, Charles Mokotoff
   [2]mokot...@gmail.com wrote:
 
Does anyone know where I could get this strap that Paul O'Dette
 is
referring to in this interview?
[1][3]https://youtu.be/tQ5vltWA0IY?t=15m27s
I have tried jury-rigging something similar but it isn't working
 all
that well for me. My lute looks about the same size as the
 instrument
Paul is holding.
Thanks for any words of wisdom on this, I've been wanting to sit
differently for some time.
--
 References
1. [4]https://youtu.be/tQ5vltWA0IY?t=15m27s
 To get on or off this list see list information at
 [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. https://youtu.be/c7wLjIF1N5o
   2. mailto:mokot...@gmail.com
   3. https://youtu.be/tQ5vltWA0IY?t=15m27s
   4. https://youtu.be/tQ5vltWA0IY?t=15m27s
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 

[LUTE] Re: Addendum

[Sterling Price]

I have been using this lute list since 1995. 
Sterling


Sent from my iPad

 On Jul 21, 2015, at 12:27 PM, Charles Mokotoff mokot...@gmail.com wrote:
 
   Absolutely, thanks Wayne for everything you've done, its been immensely
   helpful to me.
 
   On Tue, Jul 21, 2015 at 12:57 PM, Leah Baranov [1]lutech...@gmail.com
   wrote:
 
Well said, Ron.
Thank you Wayne...for everything.
On Tue, Jul 21, 2015 at 12:39 PM, Ron Andrico
[1][2]praelu...@hotmail.com wrote:
 I feel the need to add a clarifying remark my statement that
  when a
 service is free then YOU are the product.
 This discussion list, hosted by Wayne Cripps and his
 servers, is
  in
 fact a freely available service that does not, to my
 knowledge,
  mine
 personal information from its users.
 It's been a while since we all thanked Wayne publicly for
  providing
 this forum, and for taking steps to protect its users.
 The
  lute-list
 is a much appreciated remnant of old-school egalitarianism.
 Thanks, Wayne.
 RA
 Date: Tue, 21 Jul 2015 14:58:03 +
 To: [2][3]edurb...@sea.plala.or.jp; [3][4]dwinh...@lmi.net
 CC: [4][5]lute@cs.dartmouth.edu
 From: [5][6]praelu...@hotmail.com
 Subject: [LUTE] Re: xx problem
 
 Ed, you'll recall that I made the suggestion off-list, and
 that
  I
 qualified the suggestion with the statement that I do NOT
 use
  the
 data-mining service. As far as I can tell, any positive
 uses
  the
 service may have had are negated by the nature and
 quantity of
 personal
 information it robs from public interactions and private
 mail
 accounts. As usual, when a service is free then YOU are
 the
  product.
 RA
 Date: Tue, 21 Jul 2015 23:28:39 +0900
 To: [6][7]dwinh...@lmi.net
 CC: [7][8]lute@cs.dartmouth.edu
 From: [8][9]edurb...@sea.plala.or.jp
 Subject: [LUTE] Re: xx problem
 
 x seems to be a fairly useless thing for me. The
 main use
  Ive
 made of it is to grab friends pictures to put in my
 address
  book. I
 never endorse people anymore because then I just get
 bothered
  by more
 and more messages. However, I did reach Terry through
 x
  sparked
 by Rons suggestion.
 
 On Jul 21, 2015, at 11:08 AM, Dan Winheld
  [9][10]dwinh...@lmi.net wrote:
 
 To Terry Schumacher and anyone else on xx-
 
 I no longer have an account on x. Please stop
 x (if
 possible) from bothering me with contact/endorsement 
 other
 requests.
 Nothing personal, hostile, reclusive or anything; I just
 no
  longer
 have
 an account with x- it provides nothing of any personal
 or
 professional use to me. I can always be contacted through
 this
  elist
 if
 you do not have my personal email address.
 
 Thanks,
 
 Dan
 x
 --
  To get on or off this list see list information at
  [10][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[12]praelu...@hotmail.com
2. mailto:[13]edurb...@sea.plala.or.jp
3. mailto:[14]dwinh...@lmi.net
4. mailto:[15]lute@cs.dartmouth.edu
5. mailto:[16]praelu...@hotmail.com
6. mailto:[17]dwinh...@lmi.net
7. mailto:[18]lute@cs.dartmouth.edu
8. mailto:[19]edurb...@sea.plala.or.jp
9. mailto:[20]dwinh...@lmi.net
   10. [21]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. mailto:lutech...@gmail.com
   2. mailto:praelu...@hotmail.com
   3. mailto:edurb...@sea.plala.or.jp
   4. mailto:dwinh...@lmi.net
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:praelu...@hotmail.com
   7. mailto:dwinh...@lmi.net
   8. mailto:lute@cs.dartmouth.edu
   9. mailto:edurb...@sea.plala.or.jp
  10. mailto:dwinh...@lmi.net
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  12. mailto:praelu...@hotmail.com
  13. mailto:edurb...@sea.plala.or.jp
  14. mailto:dwinh...@lmi.net
  15. mailto:lute@cs.dartmouth.edu
  16. mailto:praelu...@hotmail.com
  17. mailto:dwinh...@lmi.net
  18. mailto:lute@cs.dartmouth.edu
  19. mailto:edurb...@sea.plala.or.jp
  20. mailto:dwinh...@lmi.net
  21. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: [SUSPECTED SPAM] Re: Pegheads on new lute

[sterling price]

   So I suppose the next step is to graduate to metal frets and synthetic
   strings, since they also have no fuss...
   S
 __

   From: Edward Martin edvihuel...@gmail.com
   To: John Mardinly john.mardi...@asu.edu
   Cc: Dan Winheld dwinh...@lmi.net; Charles Mokotoff
   mokot...@gmail.com; Gary Boye boy...@appstate.edu; Mayes, Joseph
   ma...@rowan.edu; Michael Grant mmgrant0...@gmail.com; Sterling
   Price spiffys84...@yahoo.com; LuteNet list lute@cs.dartmouth.edu
   Sent: Thursday, May 28, 2015 5:14 PM
   Subject: Re: [LUTE] Re: [SUSPECTED SPAM] Re: Pegheads on new lute
   What is the fuss?  None, from my experience. I have found pegheds to be
   wonderful, in every way. They do not appear different from friction
   pegs, but they work exceptionally well, are stable, very accurate, tune
   very quickly, no sticking or slipping.
   Sent from my iPhone
On May 28, 2015, at 1:07 PM, John Mardinly [1]john.mardi...@asu.edu
   wrote:
   
 Good grief: Peg Heads have a 4/1 ratio and guitar gears have a 16/1
 ratio. Changing strings is less complicated than going to the
   bathroom.
 What is the fuss?
   
 A. John Mardinly, Ph.D., P.E.
   
 Principal Materials Nanoanalysis Engineer
   
 EMail: [1][2]john.mardi...@asu.edu
   
 Cell: [2]408-921-3253 (does not work in TEM labs)
   
 Titan Lab: [3]480-727-5651
   
 NION UltraSTEM Lab: [4]480-727-5652
   
 JEOL ARM 200 Lab: [5]480-727-5653
   
 2010F Lab: [6]480-727-5654
   
 Office: [7]480-965-7946
   
 John Cowley Center for HREM, LE-CSSS
   
 B134B Bateman Physical Sciences Building
   
 Arizona State University
   
 [8]PO Box 871704
   
 [9]Tempe, AZ 85287-1704
   
 On May 27, 2015, at 10:32 AM, Dan Winheld
   [10][3]dwinh...@lmi.net
 wrote:
   
   ...if you put as little of the string as possible on the roller,
   and
   don't bother with a knot...
   That is EXACTLY the way I do it on conventional pegs. And if I am
 using
   a nylon chantarelle, I even manually pull some tension on it
   before I
   tuck/wrap the tag end under the string going into the hole, and
   then
   pull the somewhat tightened string up onto the nut  into its
   groove.
   (Outside peghole, of course).
   The only time I allow more wraps is when the peghole is centered,
   to
   get the tension closer (but not too close-binding!) to the inside
 cheek
   of the pegbox, where there will be less direct pulling force where
 the
   peg is most flexible. I can't understand why some people knot the
   strings at/in the pegbox- nothing but trouble.
   Dan
   On 5/27/2015 10:12 AM, Charles Mokotoff wrote:
   I am hardly the voice of experience here, having changed a grand
 total
   of about 7 strings now on this PegHed fitted lute. But I noticed
   if
 you
   put as little of the string as possible on the roller, and don't
 bother
   with a knot, it seems to be a lot easier to take off when the time
   comes. I have noticed no negative issues with doing it this way,
   its
   counter to how I used to do it with traditional pegs.
   On Wed, May 27, 2015 at 1:01 PM, Dan Winheld
 [1][11][4]dwinh...@lmi.net
   wrote:
 Part of being a lute teacher is showing my students how to do
   this
 stuff properly- it is not all either obvious or intuitional.
   Some
 lessons (in my case) are learned only by repeated experience.
 And gut winds around the peg differently than nylon; etc. Years
   ago
 I broke a stuck peg, forcing it when the string had wedged up
 against the inside cheek of the pegbox.
 My worst gripes about the PegHedz (even the ones that work well)
 are
 in fact about string changes. I do a fair amount of
 experimentation,
 changing out strings for different performance/pitch/tuning
 situations, and to try every damned new thing that Peruffo cooks
   up
 in his lab. Those things are worse than guitar machine heads for
 slow, awkward string changes- and lute pegboxes are not guitar
 heads.
   It is especially bad for the chantarelle- the one string for
   which
 anyone needs instant access.  On my 8 course there is
 no-outside-the box option, and so I have to run that string to
   the
 last 4th course peg for proper angle  accessability. Chuck
   Herin
 was no help at all on this; even though Dan Larson has some
 outside-the-box string hole pegheads I could not get Chuck to
   even
 understand what I wanted, it's not rocket science.
 A simple treble rider- just for a single 1st course- would be a
 good
 compromise.
 Dan
   On 5/27/2015 9:27 AM, Gary Boye wrote:
 I know there are some bad pegs and peg makers out there, but in
   my

[LUTE] Re: Pegheads on new lute

[Sterling Price]

If your lute has shitty, ill fitting pegs then PegHeads might be fine, but it 
seems that most lute builders know how to make pegs that work just great. When 
I see PegHeads on early guitars with six strings I seriously feel the need to 
throw up.
Sterling

Sent from my iPad

On May 26, 2015, at 10:55 AM, Michael Grant mmgrant0...@gmail.com wrote:

 --001a11c35b4c9e155e0516fefe80
 Content-Type: text/plain; charset=UTF-8
 
 I had PegHeds (that is how the inventor and manufacturer spells his
 product) installed on a 10 c Ren lute.  19 PegHeds to replace tired, worn,
 crappy wooden friction pegs that had broken off, actually started shearing
 off under load.  The lute was used and I had just gotten it.  Chuck Herin,
 the PegHed guy is, by pure luck, only about 2 hours from me here in South
 Carolina.  I drove the instrument to him, he made very small bore changes
 in the pegbox and installed them.  Here are before and after pics of the
 lute's pegbox.  The PegHeds cost $30 a piece.  That adds up but what was it
 costing me to have a lute with 1/2 of the broken pegs missing and so
 unplayable, what would it have cost me to take it to a lute luthier and
 have new friction pegs turned and installed and how long would that have
 taken.  Then I would have been back to friction pegs.  Add both costs up
 and the PegHeds were a no brainer!  I recommend them highly.
 
 Michael
 
 On Tue, May 26, 2015 at 11:20 AM, Dan Winheld dwinh...@lmi.net wrote:
 
 I am neither conventional nor wise, so I can only offer my own personal
 experience  opinions:
 
 Most people love them, I wouldn't pay $20 for a barrelful of them. But
 they are life saver on Orpharions; or any multi-string, double-course low
 tension wire strung instrument. For those instruments, and those
 instruments alone, I would consider them almost a necessity.
 
 They are nice on my Baroque lute student's 13 course instrument - but
 string changing is his problem!
 Hate them on my own 8  course, but I have adapted  gotten used to them-
 and that lute is so good I put up with them. The conventional but
 exquisitely fitted pegs on my Vihuela are a lot faster  easier than the
 Pegheads on my lute; I am used to the quick action of the 1 to 1 gear
 ratio of no gears! String changes? Instant!
 
 No gears for me, thanks!
 
 Da
 
 
 On 5/26/2015 6:22 AM, Charles Mokotoff wrote:
 
I took delivery of a new lute this week that has Pegheads installed.
I've never been one for much authenticity, so this doesn't bug me at
all. All I can say is, where have they been all my lute life? I don't
know what I am going to do with all the extra time I have now. They
 are
fantastic. The only single thing I miss is the simplicity of removing
 a
string with conventional pegs, but to be able to just sit there and
 put
your left hand up to easily tweak tuning feels miraculous to me.
I am curious what the conventional wisdom is on these.
 
--
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 --
 __
 Michael M. Grant, PhD, MBA
 *Coastal Psychological Consulting, PA*
 74 Lodge Trail
 Pawleys Island, SC 29585
 843.314.3263 Phone
 843.314.3784 Fax
 www.coastalpsychological.com
 
 --001a11c35b4c9e155e0516fefe80
 Content-Type: text/html; charset=UTF-8
 Content-Transfer-Encoding: quoted-printable
 
 div dir=ltrdivI had PegHeds (that is how the inventor and manufacturer 
 spells his product) installed on a 10 c Ren lute.  19 PegHeds to replace 
 tired, worn, crappy wooden friction pegs that had broken off, actually 
 started shearing off under load.  The lute was used and I had just gotten it. 
  Chuck Herin, the PegHed guy is, by pure luck, only about 2 hours from me 
 here in South Carolina.  I drove the instrument to him, he made very small 
 bore changes in the pegbox and installed them.  Here are before and after 
 pics of the lute#39;s pegbox.  The PegHeds cost $30 a piece.  That adds up 
 but what was it costing me to have a lute with 1/2 of the broken pegs missing 
 and so unplayable, what would it have cost me to take it to a lute luthier 
 and have new friction pegs turned and installed and how long would that have 
 taken.  Then I would have been back to friction pegs.  Add both costs up and 
 the PegHeds were a no brainer!  I recommend them highly.brbr/divdiv!
 Michaelbr/div/divdiv class=gmail_extrabrdiv 
 class=gmail_quoteOn Tue, May 26, 2015 at 11:20 AM, Dan Winheld span 
 dir=ltrlt;a href=mailto:dwinh...@lmi.net; 
 target=_blankdwinh...@lmi.net/agt;/span wrote:brblockquote 
 class=gmail_quote style=margin:0 0 0 .8ex;border-left:1px #ccc 
 solid;padding-left:1exI am neither conventional nor wise, so I can only 
 offer my own personal experience amp; opinions:br
 br
 Most people love them, I wouldn#39;t pay $20 for a barrelful of them. But 
 they are life saver on Orpharions; or any multi-string, double-course low 
 tension wire strung instrument. For 

[BAROQUE-LUTE] More Weiss

[sterling price]

   Here is another video I did of an insane Weiss work. If you can endure
   to the end of it you will hear my cadenza that goes up to fret 14 then
   down to course 13.
   Sterling
   [1]Sylvius Leopold Weiss Allegro in D minor--Sterling Price


  [2]image






   [3]Sylvius Leopold Weiss Allegro in D minor--Sterling Price
   [4]View on youtu.be
   Preview by Yahoo

   --

References

   1. https://youtu.be/Waq79D3pYvs
   2. https://youtu.be/Waq79D3pYvs
   3. https://youtu.be/Waq79D3pYvs
   4. https://youtu.be/Waq79D3pYvs


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

[BAROQUE-LUTE] White Holly Lute

[sterling price]

   Hi all--I have decided to sell the white Holly lute. Check out the pics
   and specs here--
   [1]Lutes for Sale






   [2]Lutes for Sale
   13 Course baroque lute after Burkholzer/Edlinger made by John
   Butterfield 2007. Ribs, neck and pegbox in very white holly. 71.2 cm
   string length.
   [3]View on www.cs.dartmouth.edu
   Preview by Yahoo

   This lute is the finest thing that I own.
   Sterling

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html
   2. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html
   3. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html


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[BAROQUE-LUTE] White Holly Burkholzer

[sterling price]

   Hi all--So I am thinking of selling my John Butterfield all white holly
   Burkholzer 13 course and I'm wondering if there might be any interest.
   Some of you may remember this lute causing a little stir and excitement
   at a couple of LSA seminars, where several well known players loved
   this lute. It is an amazing lute in perfect condition. Do let me know.
   --Sterling

   --


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

[BAROQUE-LUTE] 14 String Guitar in Theorbo Tuning

[sterling price]

   Hi all--here is an eBay auction I have for an earlier Weiss Guitar that
   I made. It has 14 strings and is presently tuned as a re-entrant
   theorbo. Now is your chance to have an extended range guitar for under
   $900.
   [1]14 String Guitar


  [2]image






   [3]14 String Guitar
   US $850.00 Used in Musical Instruments  Gear, Guitar, Acoustic
   [4]View on www.ebay.com
   Preview by Yahoo

   --

References

   1. http://www.ebay.com/itm/14-String-Guitar-/281652089658?
   2. http://www.ebay.com/itm/14-String-Guitar-/281652089658?
   3. http://www.ebay.com/itm/14-String-Guitar-/281652089658?
   4. http://www.ebay.com/itm/14-String-Guitar-/281652089658?


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

[LUTE] 7-Course Lute

[sterling price]

   Hi all--
   Some of you may remember my baroque lute made by John Butterfield with
   ribs and neck made in very white holly. It is a superb lute and no it
   is not for sale. John stopped building lutes shortly after he built
   that lute and he would have been one of the great ones had he kept at
   it. Last year a acquired a very nice 7-course lute that he built and I
   have it for sale for a great price. Please check out the lutes for sale
   page for info and pics---
[1]Lutes for Sale






   [2]Lutes for Sale
   7-Course Lute after Gerle by John Butterfield 2004. 59.5cm string
   length. Action at 8th fret=3.2mm. 11 ash ribs. I bought this lute from
   John last year as a new instrument.
   [3]View on www.cs.dartmouth.edu
   Preview by Yahoo

   --Sterling

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html
   2. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html
   3. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html


To get on or off this list see list information at
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[LUTE-BUILDER] Re: Lute Kit

[Sterling Price]

I figured it was something like that. Is there anything it know about exactly 
how much to take off the neck block?
Sterling

Sent from my iPad

On Mar 29, 2015, at 7:23 AM, William Samson willsam...@yahoo.co.uk wrote:

 
   - Forwarded Message -
   From: William Samson willsam...@yahoo.co.uk
   To: sterling price spiffys84...@yahoo.com
   Sent: Sunday, 29 March 2015, 14:21
   Subject: Re: [LUTE-BUILDER] Lute Kit
   Hi Sterling,
   It was usually a new, wider, slightly longer neck and normally an extra
   fret so there are nine tied frets; a longer pegbox to accommodate 19
   strings and of course a wider bridge.  The same barring and so on would
   be fine as long as it's not very skimpy.  If the neck block is too
   small for the wider neck it can be beefed up by gluing an extra layer
   on the inside.
   Bill
 __
 
   From: sterling price spiffys84...@cs.dartmouth.edu
   To: Lute Builder lute-builder@cs.dartmouth.edu
   Sent: Sunday, 29 March 2015, 0:37
   Subject: [LUTE-BUILDER] Lute Kit
 Hi all-
 I just completed the 8-course lute kit from The Early Music Shop. I
 used better brace material and hide glue. It turned out great and I
 want to make another one as a 10-course. Question--historically what
 was involved in making a ten course from a 7-8 course lute?
 --Sterling
 --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
   --
 
 References
 
   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: The Weiss Guitar

[Sterling Price]

   Sent from my iPad

   Begin forwarded message:

   From: sterling price [1]spiffys84...@cs.dartmouth.edu
   Date: March 20, 2015, 4:01:41 PM MDT
   To: BAROQUE-LUTE Lutelist [2]baroque-l...@cs.dartmouth.edu,  Lutelist
   Net [3]lute@cs.dartmouth.edu,  10string [4]10str...@yahoogroups.com
   Subject: The Weiss Guitar
   Reply-To: sterling price [5]spiffys84...@yahoo.com

   Hi all. I am pleased to announce my new website--
   [6]www.weissguitar.com
   Here you will learn about  the Weiss Guitar which is a 13 or 14 string
   guitar which is based on an existing 6 string classical. This is mainly
   designed for guitarists who want to join the baroque lute world.
   Instead of spending up to $8,000 for a multi string guitar, you can
   have a Weiss Guitar for a fraction of the price.
   Thanks for looking!
   --Sterling Price

   --

References

   1. mailto:spiffys84...@yahoo.com
   2. mailto:baroque-l...@cs.dartmouth.edu
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:10str...@yahoogroups.com
   5. mailto:spiffys84...@yahoo.com
   6. http://www.weissguitar.com/


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

[LUTE] Re: Neusidler

[sterling price]

   Thanks to all who responded to my query. I have ordered the Neusidler
   12 Dances from Tree Edition.
   Sterling
 __

   From: Harald Hamre privat har...@hamre.de
   To: Dan Winheld dwinh...@lmi.net; Lutelist Net
   lute@cs.dartmouth.edu
   Sent: Thursday, February 19, 2015 12:04 PM
   Subject: [LUTE] Re: Neusidler
 Dear Dan
 You will find tablatures of the three M Newsidler books on Sarge
 Gerbode's website, here:
 [1][1]http://www.gerbode.net/sources/MNewsidler/
 Fantastic lute music but quite difficult...
 Best regards
 Harald Johan
 Am 19.02.2015 um 17:51 schrieb Dan Winheld:
 Thank you all for the great links  info. I already have enough
   dances
 (but no rhythm, who could ask for anything less?) but I would like to
 acquire all of his knuckle breaking intabs and more especially the
 exquisite Recercari  Fantasias.
 Dan
   References
 1. [2]http://www.gerbode.net/sources/MNewsidler/
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.gerbode.net/sources/MNewsidler/
   2. http://www.gerbode.net/sources/MNewsidler/
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Neusidler

[sterling price]

   Hi--I am looking for a version of the Teutch Lautenbuch of Melchior
   Neusidler that is in something other than German Tab. Or do I need to
   go ahead and try to learn to read German Tab?
   Thanks all,
   Sterling

   --


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[LUTE] Re: Bach, Prelude from BWV 995

[sterling price]

   Yes I also usually use the Leipzig version with 13 tuned to G. Also,
   when I first started the lute I made a version in a minor but I really
   like the suite in g minor.
   Sterling
 __

   From: Christopher Wilke chriswi...@cs.dartmouth.edu
   To: spiffys84...@cs.dartmouth.edu spiffys84...@cs.dartmouth.edu;
   chriswi...@cs.dartmouth.edu chriswi...@cs.dartmouth.edu
   Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
   Sent: Friday, February 13, 2015 8:08 PM
   Subject: [LUTE] Re: Bach, Prelude from BWV 995
 Sterling,
 Thanks. I used the Leipzig tablature as my primary source, with
 elements from the autograph and of course, things of my own informed
 fancy. There were a few 14 course lutes (German theorbos?) around but
 whoever transcribed it into tab (Falckenhagen?) did it for 13-course,
 sans low G. In order to get the low bass, the transcriber could have
 transposed it as Hoppy has done, and Bach did himself (this being a G
 minor version of the C minor BWV 1011), but he or she apparently
   didn't
 feel the need.
 I have recorded the entire suite, including doubles I wrote for some
   of
 the other movements - and there might be an improvised cadenza here
   or
 there. My sins against how we like to imagine the great master knows
   no
 bounds. :-)
 Chris
 [1]Sent from Yahoo Mail for iPhone
   At Feb 13, 2015, 8:56:45 PM,
   Sterling'[1]spiffys84...@cs.dartmouth.edu' wrote:
 Great performance, but I miss the low G...Are you doing the rest of
   the
 suite?
 Sterling
 Sent from my iPhone
 On Feb 13, 2015, at 7:21 AM, Christopher Wilke
 [2][2]chriswi...@cs.dartmouth.edu wrote:
  Hello all,
 
  Please check out my video of the prelude from Bach's Suite in G
 minor, BWV 995. I've committed the cardinal sins of using a range of
 colors and dynamics and otherwise neglecting to treat the music as a
 relic in a museum.
 
  If you decide to give it a thumbs down, you are welcome to do so,
   but
 I request that you leave a constructive comment.
 
  [3][3]https://www.youtube.com/watch?v=sJIomMAh9oU
 
 
  Chris
 
  Dr. Christopher Wilke D.M.A.
  Lutenist, Guitarist and Composer
  www.christopherwilke.com
 
 
 
 
  To get on or off this list see list information at
  [4][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
 1. [5]https://overview.mail.yahoo.com/?.src=iOS
 2. javascript:return
 3. [6]https://www.youtube.com/watch?v=sJIomMAh9oU
 4. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:spiffys84...@cs.dartmouth.edu
   2. mailto:chriswi...@cs.dartmouth.edu
   3. https://www.youtube.com/watch?v=sJIomMAh9oU
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. https://overview.mail.yahoo.com/?.src=iOS
   6. https://www.youtube.com/watch?v=sJIomMAh9oU
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Burkhard Korn

[sterling price]

   Hi--does anyone know the German lutenist Burkhard Korn? I have been
   playing his JS Bach lute transcriptions of keyboard music and they are
   amazing. I would like to ask him about them.
   --Sterling

   --


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[LUTE] Narvaez

[sterling price]

   Hi all--Can someone direct me to an English translation of the
   instructions in the first book of Delphin de Musica of Narvaez?
   Yes, I know it is hard to believe but I recently got a nice renaissance
   lute and I am exploring the six course music for the first time. I
   can't believe how much fun it is. And yes I know Narvaez is for
   viheula...
   Sterling

   --


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[LUTE] Re: more on the liuto attiorbato

[Sterling Price]

Dear Martin and others--
Could you give advice on specifics for stringing an attiorbato with no wound 
strings? I have an attiorbato sized 57x85 and it is currently tuned in g at 
415hz. All double courses except the top string. At this size should I go to a 
higher pitch? I would like to try nylgut or similar.
I have long loved the liuto attiorbato as I think it is the perfect all purpose 
lute. One can play almost 100 percent of the lute rep, from renaissance to 
baroque ( with the correct strings of course). 
Sterling


Sent from my iPad

On Oct 18, 2014, at 10:49 AM, Dan Winheld dwinh...@lmi.net wrote:

 Martin- that is one sweet looking masterpiece; I would have killed for one 
 (or paid you to build one!) back in 1999 when I was working on Piccinini a 
 whole lot. Perfect symmetry! The historic survivors vary a bit in this 
 regard, yours looks just like one of the better ones that I have seen. Not 
 being able to get one was part of what prompted me to go for a Chambure 
 vihuela copy when I became aware of that new find.
 
 I like how your playing smooths out on the Piccinini as you get further into 
 the piece- I hope you can build one for yourself, so that your own playing 
 comes up to your 6-course fluency.
 
 The double chanterelle is a feature that I have been struggling with (on the 
 Vihuela) for years; first it took a long time to get the stringing to work- 
 string material/diameter/tension/pitch level combo right, and then more time 
 getting the touch right. But so worth it! At it's best, there is a wonderful 
 concord  unity with all the other double courses, but when out of sorts or 
 practice it can really suck. I can see why there was such controversy about 
 double vs. single for quite a while back in the day.
 
 I would conjecture that some modern approaches to the liuto attorbiato design 
 with short but single diapasons are indeed taking advantage of wire overspun 
 basses that have enough harmonic overtones to get away with no 8ve strings, 
 but can still give a bit of the feel of that long, extended neck growl and 
 twang so typical of  archlutes  theorbi. For the liuto attorbiato, I much 
 prefer your solution- because it is not, after all, an archlute (much less a 
 theorbo).
 
 Congrats, and I hope you build more!
 
 Dan
 
 On 10/18/2014 8:06 AM, Martin Shepherd wrote:
 Hi All,
 
 You can now see and hear more detail on this project, including some of the 
 considerations which went into it, at:
 
 http://www.luteshop.co.uk/Liuto_Attiorbato.html
 
 Martin
 
 
 ---
 This email is free from viruses and malware because avast! Antivirus 
 protection is active.
 http://www.avast.com
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 

[BAROQUE-LUTE] Smith Dissertation

[sterling price]

   Hello--
   I am looking for the Douglas Alton Smith dissertation 'The Late Sonatas
   of Sylvius Leopold Weiss'. I read it 20 years ago when I borrowed Pat
   O'brien's copy. Does anyone know of the availability of this?
   Thanks,
   Sterling

   --


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[BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale

[sterling price]

   I think it depends on what your'e used to. My first 13 course had 157mm
   and that is what I learned on, and I try to only play lutes with that
   spacing. Once I had a lute for 6 months that was much smaller (say
   around 145 cm) and I couldn't stand it. I could never hit the correct
   bass notes. I know Barto uses 155cm. I tend to favor lutes of the
   Edlinger school which tend to be bigger I think than Hoffman and
   Schelle lutes. I also prefer lutes with a longer string length like
   over 76 cm. I would love to try one of the 80cm 13 course lutes.
   Sterling
   On Tuesday, June 24, 2014 4:53 PM, Anton Birula
   image...@cs.dartmouth.edu wrote:
   I am really surprised Having played londer than 23 years, I never
   had an instrument wider than 147 which I play. Everyone who played my
   lutes would say that it is a bit widish Also as far as  I know,
   Hoppy Smith, Nigel North, Konrad Junghanel, Toyohiko Satoh, Jacob
   Lindberg and many others have lutes narrower than 147. It is really
   remarkable to hear that people have such wide spacing around. What
   about late Weiss Suites from Dresden manuscript Nr  23,24, 25, 30? How
   do these work on that spacings?
   Best wishes, AB
   
   On Tue, 6/24/14, Matthew Daillie [1]dail...@club-internet.fr wrote:
   Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale
   To: Christopher Wilke [2]chriswi...@cs.dartmouth.edu
   Cc: John Lenti [3]johnle...@hotmail.com, [4]r.turov...@gmail.com
   [5]r.turov...@gmail.com, sterling price
   [6]spiffys84...@yahoo.com, [7]baroque-lute@cs.dartmouth.edu
   [8]baroque-lute@cs.dartmouth.edu
   Date: Tuesday, June 24, 2014, 9:07 PM
   The difficulty comes from having to
   drill a new hole very close to an old one. Even if the
   latter is well plugged, the drill bit often finds its way
   back into the original hole. It is also tricky to make sure
   the bit comes out the other side exactly where you want it
   to (after all, we are talking about fractions of
   millimetres). Anyway, ask any reputable maker, it's not a
   job they enjoy doing (and I have had it done on a couple of
   my lutes). Some makers prefer to make a new bridge which can
   be glued on to the soundboard without it being removed, but
   others would only consider fitting a new bridge with the top
   off.
   best
   Matthew
   On 24 juin 2014, at 18:26, Christopher Wilke
   [9]chriswi...@cs.dartmouth.edu
   wrote:
Nothing difficult about it at all. I've drilled a few
   holes myself on lutes and a baroque guitar and I have zero
   wood working skills. I used a little tiny hobby drill that I
   bought from Michael's hobby supply. It's basically just a
   short aluminum handle like an Exacto knife with a little
   drill bit set into it. You just physically rotate it back
   and forth by hand. It's so small, you can get it close and
   parallel with the soundboard. If you're not an experienced
   bridge-hole-driller, the real advantage is that you have
   plenty of time to recognize and correct your aim as you go.
   
Chris
   
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
   

On Tue, 6/24/14, Matthew Daillie [10]dail...@club-internet.fr
   wrote:
   
Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for
   sale
To: John Lenti [11]johnle...@hotmail.com
Cc: [12]r.turov...@gmail.com
   [13]r.turov...@gmail.com,
   sterling price [14]spiffys84...@yahoo.com,
   [15]baroque-lute@cs.dartmouth.edu
   [16]baroque-lute@cs.dartmouth.edu
Date: Tuesday, June 24, 2014, 10:42 AM
   
It is feasible to redrill the bridge
holes but it's a job even (especially?) the best lute
   makers
hate doing (the original holes are obviously done
   before the
bridge is glued on).
   
Best
Matthew
   
   
On 24 juin 2014, at 16:05, John Lenti [17]johnle...@hotmail.com
wrote:
   
Whatever else happens, it's not a huge big deal to
   have
the bridge re-drilled, or to get a new nut. If bridge
   or nut
spacing is the one thing you don't like about an
   instrument,
fix it. I had John Rollins re-drill my baroque lute
   bridge
and have never been happier. Some of the original holes
   are
part of the new spacing, he plugged the others. I've
   seen
other lutes the bridges of which look like Swiss
   cheese,
which also seems not to have any deleterious effects.
   
Sent from my Ouija board
   
On Jun 23, 2014, at 3:39 PM, [18]r.turov...@gmail.com
[19]r.turov...@gmail.com
wrote:
   
My hands are small, but I found 154mm to be
   the
absolute minimum I could deal with.
RT
   
   
On 6/23/2014 3:49 PM, sterling price
   wrote:
   Hi--I know we have discussed
this at length before, but both of my 13
   course lutes are 157mm for
   the
bridge spacing. I got very used

[BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale

[sterling price]

   On Tuesday, June 24, 2014 5:51 PM, sterling price
   spiffys84...@yahoo.com wrote:
   I think it depends on what your'e used to. My first 13 course had 157mm
   and that is what I learned on, and I try to only play lutes with that
   spacing. Once I had a lute for 6 months that was much smaller (say
   around 145 cm) and I couldn't stand it. I could never hit the correct
   bass notes. I know Barto uses 155cm. I tend to favor lutes of the
   Edlinger school which tend to be bigger I think than Hoffman and
   Schelle lutes. I also prefer lutes with a longer string length like
   over 76 cm. I would love to try one of the 80cm 13 course lutes.
   Sterling
   On Tuesday, June 24, 2014 4:53 PM, Anton Birula
   image...@cs.dartmouth.edu wrote:
   I am really surprised Having played londer than 23 years, I never
   had an instrument wider than 147 which I play. Everyone who played my
   lutes would say that it is a bit widish Also as far as  I know,
   Hoppy Smith, Nigel North, Konrad Junghanel, Toyohiko Satoh, Jacob
   Lindberg and many others have lutes narrower than 147. It is really
   remarkable to hear that people have such wide spacing around. What
   about late Weiss Suites from Dresden manuscript Nr  23,24, 25, 30? How
   do these work on that spacings?
   Best wishes, AB
   
   On Tue, 6/24/14, Matthew Daillie [1]dail...@club-internet.fr wrote:
   Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale
   To: Christopher Wilke [2]chriswi...@cs.dartmouth.edu
   Cc: John Lenti [3]johnle...@hotmail.com, [4]r.turov...@gmail.com
   [5]r.turov...@gmail.com, sterling price
   [6]spiffys84...@yahoo.com, [7]baroque-lute@cs.dartmouth.edu
   [8]baroque-lute@cs.dartmouth.edu
   Date: Tuesday, June 24, 2014, 9:07 PM
   The difficulty comes from having to
   drill a new hole very close to an old one. Even if the
   latter is well plugged, the drill bit often finds its way
   back into the original hole. It is also tricky to make sure
   the bit comes out the other side exactly where you want it
   to (after all, we are talking about fractions of
   millimetres). Anyway, ask any reputable maker, it's not a
   job they enjoy doing (and I have had it done on a couple of
   my lutes). Some makers prefer to make a new bridge which can
   be glued on to the soundboard without it being removed, but
   others would only consider fitting a new bridge with the top
   off.
   best
   Matthew
   On 24 juin 2014, at 18:26, Christopher Wilke
   [9]chriswi...@cs.dartmouth.edu
   wrote:
Nothing difficult about it at all. I've drilled a few
   holes myself on lutes and a baroque guitar and I have zero
   wood working skills. I used a little tiny hobby drill that I
   bought from Michael's hobby supply. It's basically just a
   short aluminum handle like an Exacto knife with a little
   drill bit set into it. You just physically rotate it back
   and forth by hand. It's so small, you can get it close and
   parallel with the soundboard. If you're not an experienced
   bridge-hole-driller, the real advantage is that you have
   plenty of time to recognize and correct your aim as you go.
   
Chris
   
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
   

On Tue, 6/24/14, Matthew Daillie [10]dail...@club-internet.fr
   wrote:
   
Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for
   sale
To: John Lenti [11]johnle...@hotmail.com
Cc: [12]r.turov...@gmail.com
   [13]r.turov...@gmail.com,
   sterling price [14]spiffys84...@yahoo.com,
   [15]baroque-lute@cs.dartmouth.edu
   [16]baroque-lute@cs.dartmouth.edu
Date: Tuesday, June 24, 2014, 10:42 AM
   
It is feasible to redrill the bridge
holes but it's a job even (especially?) the best lute
   makers
hate doing (the original holes are obviously done
   before the
bridge is glued on).
   
Best
Matthew
   
   
On 24 juin 2014, at 16:05, John Lenti [17]johnle...@hotmail.com
wrote:
   
Whatever else happens, it's not a huge big deal to
   have
the bridge re-drilled, or to get a new nut. If bridge
   or nut
spacing is the one thing you don't like about an
   instrument,
fix it. I had John Rollins re-drill my baroque lute
   bridge
and have never been happier. Some of the original holes
   are
part of the new spacing, he plugged the others. I've
   seen
other lutes the bridges of which look like Swiss
   cheese,
which also seems not to have any deleterious effects.
   
Sent from my Ouija board
   
On Jun 23, 2014, at 3:39 PM, [18]r.turov...@gmail.com
[19]r.turov...@gmail.com
wrote:
   
My hands are small, but I found 154mm to be
   the
absolute minimum I could deal with.
RT
   
   
On 6/23/2014 3:49 PM, sterling price
   wrote:
   Hi--I know we have discussed
this at length before, but both of my 13

[LUTE] Kapsperger

[sterling price]

   I was playing through the 1611 Kapsperge book and I came across the
   Corrente 7. Toward the end of the piece there is an 11 marked in the
   bass for the eleventh course B flat. This I think is the only instance
   of an eleventh course in the book. I was under the impression that
   Kapsperger wrote for the 10 course lute, and there was perhaps no such
   thing and an 11 course lute in that tuning at the time. Could he have
   been implying an Archlute? What is going on here?
   Sterling

   --


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[LUTE] Masterclasses

[sterling price]

   Some of this talk of masterclasses has reminded me of my checkered past
   with the format.
   In 1994, when I was 20, I performed in a masterclass of a certain
   well-known female guitarist. I made the mistake of not using her
   edition of the Bach I was playing. She was not amused. She was so
   ruthless that many letters from people in the audience were sent to her
   later, including one from my teacher who she insulted. The whole thing
   caused a rift in the local guitar society that lasted for years. I
   remember when I was on stage with her I almost wanted to laugh,
   thinking are you being serious?.  After another masterclass a few
   months later with Christopher Parkening, I gave up the guitar for many
   years and put all my efforts into the baroque lute.
   I had my first masterclass with Robert Barto 10 years ago, and my
   experience with him has been quite different. My eyes were opened and
   lo, I did receive the truth. I have 10 years of DVDs of those
   masterclasses,(which some have called 'The Bob and Sterling Show'). I
   often refer to those recordings. If I could get permission, I would
   post some highlights.
   --Sterling

   --


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

[sterling price]

   Perhaps one reason nails are used on modern classical guitars is the
   very thick soundboard and high tension strings. On my 19th century
   Lacote guitar copy, no-nails sounds perfect and full.
   The sound of nails on plastic strings is sometimes grating to me. On
   the other hand, for me growing nails is less trouble than playing
   without as it takes more upkeep to keep them short enough...
   Sterling
   On Tuesday, December 10, 2013 12:42 PM, guitarandl...@earthlink.net
   guitarandl...@earthlink.net wrote:
   I like nails, the sound of nails. I like nylon strings.
   Who knows what they would have used if they had modern strings, 600
   sandpaper, and diamond files, not to mention super glue.
   I always think the point is to make pleasing music and have fun.
   It doesn't matter to me how anyone plays. Do what makes you happy and
   have fun.
   Allan
   -Original Message-
   From: Mayes, Joseph [1]ma...@rowan.edu
   Sent: Dec 10, 2013 11:23 AM
   To: Bruno Correia [2]bruno.l...@gmail.com, List LUTELIST
   [3]lute@cs.dartmouth.edu
   Subject: [LUTE] Re: Bream Collection... I just noticed
   
   I play the lute, archlute and vihuela with nails for the same reason
   that I
   play the classical guitar with nails: because it sounds better!
   Of course, by that I mean it sounds better to me. Nails give the
   attack a
   precision that flesh does not. It also comes closer, IMHO to the sound
   usually described in historical sources as desirable on lute -
   silvery,
   tinkling, etc.
   Many sources tell us not to use nails - which they wouldn't have
   bothered to
   do if people were not doing it that way.
   I don't play with flesh, I don't ride my horse to the gig, and I don't
   attend any bear-bating.
   
   
   My $.02
   
   Joseph mayes
   
   
   On 12/10/13 11:05 AM, Bruno Correia [4]bruno.l...@gmail.com wrote:
   
   Here we go again with the nails issue. There are many sources
   describing the use of flesh as the best way to sound upon the
   lute,
   however, the use of nails was certainly a possibility. But only
   because
   three cats used it doesn't mean it was the general taste of those
   times. Just because Jimi Hendrix played with his teeth doesn't
   mean that everyone does it today. I could only justify the nails
   if I
   still played the classical guitar, otherwise what benefit would
   it
   bring?
   2013/12/10 Martin Shepherd [1][5]mar...@luteshop.co.uk
   
 Well, there's Piccinini, who recommends playing with nails, and
 Mace, who says that some people do it and think it's the best
   way,
 but he says it might be OK in an ensemble but doesn't like it
   for
 solo playing.  There may be others - Weiss?  Vihuela
   references? I'm
 sure others can help.
 Martin
   
   --
   
References
   
   1. mailto:[6]mar...@luteshop.co.uk
   
   
To get on or off this list see list information at
[7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   
   
   

   --

References

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

[LUTE] Re: Nails and lute playing

[sterling price]

   Regarding nails on gut strings--even people like Segovia used nails on
   gut for decades. I like those early recordings of modern guitars strung
   with gut. I think nylon strings came about after WWII.
   Sterling
   On Tuesday, December 10, 2013 7:46 PM, Sean Smith lutesm...@mac.com
   wrote:
   Just to be sure, he used nails on _gut_? Ragossinig, too? When I
   played those records in my childhood I always assumed they were nylon
   strings. When would JB and KR have moved to nylon?
   Sean
   On Dec 10, 2013, at 6:21 PM, Allan Alexander wrote:
   Sean
   Bream used nails, so I guess it started. So does Ragossnig
   Allan
   
Since there appear to be lute players who use nails - a club I
   haven't
joined and now I'm curious - I wonder if there are there people who
use all gut and nails.
   
Could they tell us their experience on how it affects the the life of
the strings? Do they [the strings] wear excessively? Do the thinner
ones need more frequent changing than the thicker gut strings? After
they wear a bit and perhaps fray, is the intonation affected? If so,
how?
   
Wait, I thought of another. How about you orpharion and bandora
players - do you use nails?
   
Sean
   
ps. we seem to be on a topic of nails (tho I can readily see the
connection to the Bream thread) so forgive me for re-subjecting this
offshoot of the thread. If it helps feel free to respond to Bruno's
post as well under it.
   
   
On Dec 10, 2013, at 5:29 PM, Bruno Correia wrote:
   
 It may sound good to you, but not for most of the lutenists out
there.
 Ask Hoppy about this issue? Ok, you don't need to ask him, after
 all you don't ride a horse to the gig... Hey, I'd like to do that,
 the traffic has been so bad nowadays.
   
 The most frequent word to describe the lute's sound is sweetness!
 How can you have achieve it with nails? Double strings also require
 that both strings be pressed at once and not one after the other.
 The lute is after all a sweet instrument (specially with gut). Even
 in
classical
 guitar tutors (19th-20th century) the issue of nails was still
rolling
 on. Sor hated it and only tolerated Aguado because of his great
skill.
 That's why Tarrega and Pujol also avoided it (even if it was a
 requirement due to the high tension of the Torres guitar).
   
 Going back: The sources were just saying that many people were
careless
 about their sound production. In order to avoid it, what about
cutting
 your nails once and a while, washing your hands (daily if you can)?
   
 2013/12/10 Mayes, Joseph [1][1]ma...@rowan.edu
   
   I play the lute, archlute and vihuela with nails for the same
reason
   that I
   play the classical guitar with nails: because it sounds better!
   Of course, by that I mean it sounds better to me. Nails give the
   attack a precision that flesh does not. It also comes closer,
   IMHO to the sound usually described in historical sources as
   desirable on lute - silvery, tinkling, etc. Many sources tell us
   not to use nails - which they wouldn't have bothered to do if
   people were not doing it that way. I don't play with flesh, I
   don't ride my horse to the gig, and I don't attend any
   bear-bating. My $.02 Joseph mayes
   
   
 --
   
References
   
 1. mailto:[2]ma...@rowan.edu
   
   
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:ma...@rowan.edu
   2. mailto:ma...@rowan.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tablature for publication

[sterling price]

   Regarding hand written music---
   If given a choice, I would always prefer hand written tab to computer
   tab, especially with baroque music. I am baffled why anyone would
   choose computer over original, when the original is so clear and
   beautiful. When the original is not legible that is different. The
   problem I have with computer tab is visual, as well as the carefully
   organized page turns of the original are often disregarded. Also it
   seems that many errors crop up.
   As lute players it seems we like things to be as original as possible.
   --Sterling
   On Tuesday, November 19, 2013 1:02 PM, Tobiah t...@tobiah.org wrote:
   On 11/19/2013 11:44 AM, Arto Wikla wrote:
Dear all,
   
I understand wholeheartedly the need for a good tool for tabulature
   publishing, but how beautiful are many of the original
tabulatures! And they all - also those that are not so beautiful -
   are very personal! So why not write also nowadays by your own
hand? No limitations in the available character set or markings of
   ornaments, ties, and what so ever extra information!
   In my case, if I go to the trouble of writing down musical information,
   I want to be able to easily get that information into a computer for
   various reasons.  I want to hear a performance of the piece, and to
   easily change to the grand staff for instance.
friendly,
   
Arto
   
   To get on or off this list see list information at
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   --

References

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

[LUTE] Re: Edlinger Lutes

[sterling price]

   I have been playing an Edlinger baroque lute for 19 years. I think I am
   partial to lutes of the Edlinger school, more so than Hoffman or
   Widhalm. I also play a Burkholzer lute which could be considered an
   Edlinger, as he did the conversion. The Edlinger baroque lute does have
   a very shallow body, which makes it quite easy to hold. The one I have
   is also quite loud, but this might be due to it's size (76cm) and ebony
   ribs.
   Sterling
   On Friday, October 18, 2013 4:17 PM, Dan Winheld dwinh...@lmi.net
   wrote:
   Oops! I just saw that you said theorbo -forget everything I just wrote.
   No experience these things!
   On 10/18/2013 12:04 PM, BENJAMIN NARVEY wrote:
   Dear All,
   
   I am getting a small theorbo made after Edlinger, but my lute
   maker
   feels the model is excessively thin; she is worried about
   sound/projection. I should think the sound may be less complex
   than
   deeper lutes, but perhaps I will have more projection since less
   sound
   will get trapped in the belly.
   
   Does anyone have experience with Edlinger-type models? I would
   like to
   stay as close to the original body as possible and see what
   happens,
   but the maker has never made anything so shallow before and is
   getting
   slightly cold feet about it.
   
   Any and all thoughts would be much appreciated!
   
   In any event, it should be a dream to hold!
   
   Bonne musique,
   
   Benjamin
   
   --
   [1]www.luthiste.com
   t +33 (0) 1 44 27 03 44
   p/m +33 (0) 6 71 79 98 98
   --
   
References
   
   1. [1]http://www.luthiste.com/
   
   
To get on or off this list see list information at
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References

   1. http://www.luthiste.com/
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Classical Guitar Alive Feature

[sterling price]

   Chris--
   I just heard the interview. Well spoken, and of course wow on the cd.
   Sterling
 __

   From: Christopher Wilke chriswi...@yahoo.com
   To: Lutelist List lute@cs.dartmouth.edu
   Sent: Saturday, August 24, 2013 9:13 AM
   Subject: [LUTE] Classical Guitar Alive Feature
   Hello all,
   I will be the featured interview guest on this week's edition of
   the internationally-distributed radio program, Classical Guitar
   Alive!. Tracks from my latest album, Graceful Degradation, will be
   played and I will discuss the obscure composers and music. Also on the
   show is lute playing by Julian Bream (recently discussed on this list)
   and 19th century transcriptions of works by Beethoven by Wenzel Thomas
   Matiegka. So, lots of interesting things for us early pluckers this
   week...
   Go to [1]http://www.guitaralive.org/station.html for a list of
   stations, times and streaming options.
   Thanks,
   Chris
   Dr. Christopher Wilke D.M.A.
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. http://www.guitaralive.org/station.html
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Liuto forte etc.

[sterling price]

   Hi--yes that was 2004 in Cleveland. I didn't have plans or a kit but I
   would modify existing guitars. I started building them again this year.
   They actually work quite well.
   Sterling
 __

   From: Dan Winheld dwinh...@lmi.net
   To: Sterling spiffys84...@yahoo.com
   Cc: Franz Mechsner franz.mechs...@gmx.de; Bruno Correia
   bruno.l...@gmail.com; lute lute@cs.dartmouth.edu
   Sent: Friday, August 23, 2013 5:33 PM
   Subject: Re: [LUTE] Re: Liuto forte etc.
   Sterling-
   Didn't I see one of your original prototypes for this at Cleveland,
   back
   around 2006? The poor man's instant 13 course solution! I remember you
   had a conversion kit, or plans for such, as well.
   One can of course buy just about any configuration desired for what one
   very fine builder calls a shitload of dollars.
   I actually once commissioned Ralph Novak to build me a 10 string, fan
   fret, bent archtop (a la early English viols- John Rose) steel-string
   guitar, but unfortunately (or fortunately) the deal fell through.
   Dan
   On 8/23/2013 11:08 AM, Sterling wrote:
I have developed something I call the Weiss Guitar. It's a guitar
   with 13 or 14 strings tuned like a baroque lute or even a g archlute.
   It works quite well. There are a few other people making these
   multi-string guitars but they cost even more than lutes.
Sterling
   
Sent from my iPhone
   
On Aug 23, 2013, at 11:36 AM, Dan Winheld [1]dwinh...@lmi.net
   wrote:
   
One more thought/question regarding the Liuto Forte; it seems that
   there is/has been a trend for more single-strung archthings these days;
   I tried one once- tension felt pretty tight, and the string spacing
   rather wide. H!?!
   
On 8/23/2013 10:29 AM, Dan Winheld wrote:
Franz;
   
Very well reasoned  eloquently written response- you have made me
   quite curious to see  try one of these things out. I have an
   instrument of my own that fits no historical classification but
   provides an alternative tone color; a seven string steel-string guitar
   acquired cheaply on a whim while awaiting the completion of my vihuela.
   I have it strung/tuned as a G tenor lute at aA5; it works best as a
   fake Orpharion (flexibility of modern steel strings allows tuning to
   the relative Bandora intervals, more creative fakery!) Of course, it is
   no closer to a real Orpharion/Bandora than the modern Classical guitar
   is to the lute, but it does provide that wire string sound- and is far
   more satisfactory for Renaissance music than the modern Classical
   guitar with its boomy, opaque bass response and dull lack of clarity
   (on most guitars) if played without nails.
   
One more wrinkle about polyphonically oriented lutes- My Chambure
   model vihuela is strung with a doubled 1st course. This has the
   salutary effect of integrating that course with all the others in tone
   color; becoming the soprano section of the choir instead of the solo
   prima donna, singing alone above the chorus. But it took time to work
   out the best tension/diameter/pitch combination- and then, the very
   hard work (for me) of refining the right hand touch for clean sound
   without clashing or twanging of the strings- which then benefits good
   touch on all other courses as well.
   
While done or at least attempted historically at certain times, the
   doubled 1st seems to have been mostly considered too troublesome (and
   probably too expensive!) to be worth while over the longest haul. But
   we do have Caravaggio's paintings showing at least one doubled 1st on a
   7 course, and then on up to Dowland's and Robinson's clearly stated
   preference for this set up; and apparently even into the middle and
   later 17th century some players persisted with doubled 1st (Mace?)
   while the majority had already gone over to the single 2nd as well as
   1st. Of course, all of this well past the time of the Renaissance ideal
   of polyphony.
   
Dan
   
On 8/22/2013 11:55 PM, Franz Mechsner wrote:
   Dear Bruno,
   
   I own a guitar made by Mario Gropp and a vihuela by Alexander
   Batov and
   am very happy with both instruments. I also had a Liuto Forte
   for
   several years, which I unfortunately had to sell for financial
   reasons.
   I miss that beautiful instrument a lot.
   
   First of all, it is a wonderful instrument in its own right, so
   I
   estimated it highly such as I estimate my guitar and my
   vihuela. There
   is no need to compare any of these instruments on the cost of
   the
   others - every of these has something the others have not and
   the other
   way around, which is trivial of course but has to be told to
   purists of
   any sort. Recently I've had the privilege to host Andre
   Burguete who
   invented the instrument. It was pure joy to hear him fill the
   house
   with his 

[LUTE] Re: Double wide spacing for polyphony

[sterling price]

   It's not that hard to change the spacing on an existing lute. There is
   no reason anyone should be playing a lute that doesn't fit right.
   --Sterling
 __

   From: Leonard Williams arc...@verizon.net
   To: lute lute@cs.dartmouth.edu
   Sent: Friday, August 23, 2013 6:39 PM
   Subject: [LUTE] Re: Double wide spacing for polyphony
   My first lute had string spacings which, I presume, were intended for
   thumb-out playing: rather close between courses.  When I decided to
   learn
   thumb-in, this was a serious draw-back.  My luting went into hiatus
   until
   I could afford a new instrument built with wider spacing for thumb-out.
   It's interesting how much difference something like that can make, yet,
   like strings options, you don't hear much about it regarding other
   string
   instruments.
   Leonard Williams
   On 8/23/13 4:44 AM, William Samson [1]willsam...@yahoo.co.uk wrote:
 That's a beautiful lute.
   
 In contrast I have a 59cm 7c Venere replica (also shaded yew) with
   very
 close string spacing at the nut - as the original lute has.  When I
   was
 younger this suited me nicely, but as I age my fingers have
   thickened
 and it needs very great care to play chords cleanly.  For this
   reason I
 have used a considerably wider spacing on my new 62cm 10c lute and
   have
 no trouble with chords.  The one stretch that I am particularly
 conscious of is when I stop the first and sixth strings at the
   seventh
 fret using little finger on the 1st and ring finger on the 6th.
   
 In favour of the lute with closer spacing I find that rapid
   single-line
 passages are easier on it - It's ideal for playing divisions.
   
 Horses for courses and an excuse (if one was needed) to have more
 lutes.
   
 Bill
   
 --
   
   
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:willsam...@yahoo.co.uk

[BAROQUE-LUTE] Re: Weiss Volume 9 Facsimile

[sterling price]

   I had heard several years ago that the transcription was to be
   published first. This I found quite strange and frustrating. Shouldn't
   the goal be to get the music in player's hands? Oh well...
   Sterling
 __

   From: Arthur Ness arthurjn...@verizon.net
   To: sterling price spiffys84...@yahoo.com; baroque lute list
   baroque-lute@cs.dartmouth.edu
   Sent: Saturday, July 27, 2013 5:56 AM
   Subject: [BAROQUE-LUTE] Re: Weiss Volume 9 Facsimile
 Hang on, Sterling!  You're in for a rough ride.
 The volume you are asking about is in preparation.  It is
 miscellaneous pieces in facsimile, vol. 9 of the Saemtliche Werke
 ed. Tim Crawford, et al., which is Bd. 15 in a special series
 (Sonderreihe) in Das Erbe deutscher Musik (EdM) publ. Baerenreiter..
 The volume of corresponding transcriptions has already appeared as
   vol.
 10 (iM 16), 604 pp. costing nearly $US1000 (that's right, one
   thousand
 dollars).  One can expect that the facsimile will be similarly
 priced.  Charlotte had no choice but to purchase it for her library.
 It was a big hunk from her book budget.

   [1][1]https://www.baerenreiter.com/en/program/complete-editions-and-edi
   tio
 ns-of-selected-works/das-erbe-deutscher-musik/special-series/
 The contents of vol. 10 are  listed here, as well as an index to the
 complete edition:

   [2]http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaf
 t/EDM/EdM-Inhaltsverzeichnisse/EdM_Sonderreihe_016.pdf
 An important web page is Markus Lutz (and colleagues):
 [3]http://www.slweiss.de/index.php
 AJN.
 - Original Message -
 From: sterling price [4][2]spiffys84...@yahoo.com
 To: baroque lute list [5][3]baroque-lute@cs.dartmouth.edu
 Sent: Saturday, July 27, 2013 12:19 AM
 Subject: [BAROQUE-LUTE] Weiss Volume 9 Facsimile
   Hi all--
   I'm looking for info about the Weiss complete works volume 9
 facsimile.
   This is the one with works from miscellaneous manuscripts, and the
 one
   I have been waiting almost 20 years to get. OMI has it listed, but
 with
   no price. Before I call OMI, has anyone seen this yet?
   Thanks,
   Sterling
 
   --
 
 
  To get on or off this list see list information at
  [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
   References
 1.
   [4]https://www.baerenreiter.com/en/program/complete-editions-and-editio
   ns-of-selected-works/das-erbe-deutscher-musik/special-series/
 2.
   http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/E
   DM/EdM-Inhaltsverzeichnisse/EdM_Sonderreihe_016.pdf
 3. [5]http://www.slweiss.de/index.php
 4. mailto:[6]spiffys84...@yahoo.com
 5. mailto:[7]baroque-lute@cs.dartmouth.edu
 6. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://www.baerenreiter.com/en/program/complete-editions-and-editio
   2. mailto:spiffys84...@yahoo.com
   3. mailto:baroque-lute@cs.dartmouth.edu
   4. 
https://www.baerenreiter.com/en/program/complete-editions-and-editions-of-selected-works/das-erbe-deutscher-musik/special-series/
   5. http://www.slweiss.de/index.php
   6. mailto:spiffys84...@yahoo.com
   7. mailto:baroque-lute@cs.dartmouth.edu
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Big Fret Help

[sterling price]

   I'm sitting here trying a few things, and at one point I made it worse.
   Its really only a problem with the 3rd fret making the 2nd fret buzz at
   the 1st course. I was wondering: what would be the effect of getting
   the fret wet? Would that do anything to tighten it at the right point?
   I'm usually pretty good at fiddling with frets, such as tightening old
   loose frets and such.
   Sterling
 __

   From: Sean Smith lutesm...@mac.com
   To: lute lute@cs.dartmouth.edu
   Sent: Wednesday, July 17, 2013 12:14 PM
   Subject: [LUTE] Re: Big Fret Help
   Hi Sterling,
   I just went through the exact problem as you w/ the first fret not
   'lying down' about a month ago. I was also hoping on a piece of advice
   that wouldn't lead to removing and more carefully retying one. Yes,
   they are expensive at that diameter. Forgive me for watching and
   waiting for what other, more experienced players chimed in with.
   It's interesting that it will fold nicely at one point but if the fret
   gets rotated where that fold moves toward the string it won't lie down
   again. The possible lesson here is to not let that happen as we tie it.
   Cold comfort, I know.
   I found a way to keep pressure on that one raised area (after breathing
   warmly on it for a few minutes) over a few nights and it did eventually
   drop to an acceptable height.
   Btw, this occurs on a 6c w/ fairly low action (MHaycock). I did raise
   the nut w/ a few paper shims to accomodate the tastino and where MH
   originally spec'd 1.0mm for the 1st fret, I now use 1.15. I've tried to
   keep records lately to make refretting go easier but it's still the one
   operation that will enevitably take all afternoon and more fret gut
   than I'd like to use.
   Sean
   On Jul 16, 2013, at 6:08 PM, sterling price wrote:
 Hi-
 There was no problem when this lute had just -slightly- smaller
   frets.
 I was hoping there would be some remedy I could do without putting
   new
 frets on as they are quite expensive at this size. I tried loosening
   a
 fret and working it a bit to soften the edge but it wasn't
   successful.
 I might try a few other things though.
 As RE the high action of this lute, I have the same plan that I think
 Larry K Brown worked from (its the J.J Edlinger 1732 13 course).
 Anyway, the neck angle and enormous belly scoop/dish shown on the
   plan
 result in a high action. I realize that this feature need not be
 utilized in the copy lute though.
 --Sterling
   __
 From: Michael Vollbrecht [1]mollbre...@gmail.com
 To: sterling price [2]spiffys84...@yahoo.com
 Cc: [3]lute@cs.dartmouth.edu [4]lute@cs.dartmouth.edu
 Sent: Tuesday, July 16, 2013 3:22 AM
 Subject: Re: [LUTE] Big Fret Help
 Had the same problem recently, moving from .80 to .95 frets and in my
 case the remedy consisted of two things:
 First, I had to reform the fingerboard a little bit with a scraper
   so
 as to get it a little bit curved (it was actually curved the wrong
   way
 from the 4th fret up...). This might not be necessary in your case,
 just
 check with a metal ruler.
 Then  you need a VERY smooth round fingerboard edge - if the radious
   is
 too smaall the fret is lifted up from the board: a bit more scraping
 and
 finishing touch with some sanding did it for me. If your lute neck is
 veneered (like mine) however, be careful when rounding the edge - you
 can easily work through this thin layer...
 In addition to all this, I wrapped the fret gut a couple of times
 around
 a long needle nose plier, mostly the part for the knot and where the
 edgdes would come: this makes the gut much more flexible, the knot is
 easier to tie and the gut follows the edge much more smoothly.
 Hope this helps!
 Michael
 On Mon, 2013-07-15 at 15:29 -0700, sterling price wrote:
 Hi all--
 I recently changed the frets on my baroque lute (after many years
 of
 service). I went up from 1.10 mm to 1.20 mm on all frets. The
 problem I
 am having is there are a few frets that are not sitting all the
 way
 flat under the first course so it has a 'choked' sound on some
 notes. I
 know this wouldn't happen if the fingerboard was more curved or if
 I
 used smaller frets(not an option). Any advice on how to get these
 big
 frets to stay flat would be great. And yes they are very tight.
 Thanks,
 Sterling
   
 --
   
   
To get on or off this list see list information at
[1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mollbre...@gmail.com
   2. mailto:spiffys84...@yahoo.com
   3. mailto:lute

[LUTE] Re: Big Fret Help

[sterling price]

   Hi-
   There was no problem when this lute had just -slightly- smaller frets.
   I was hoping there would be some remedy I could do without putting new
   frets on as they are quite expensive at this size. I tried loosening a
   fret and working it a bit to soften the edge but it wasn't successful.
   I might try a few other things though.
   As RE the high action of this lute, I have the same plan that I think
   Larry K Brown worked from (its the J.J Edlinger 1732 13 course).
   Anyway, the neck angle and enormous belly scoop/dish shown on the plan
   result in a high action. I realize that this feature need not be
   utilized in the copy lute though.
   --Sterling
 __

   From: Michael Vollbrecht mollbre...@gmail.com
   To: sterling price spiffys84...@yahoo.com
   Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
   Sent: Tuesday, July 16, 2013 3:22 AM
   Subject: Re: [LUTE] Big Fret Help
   Had the same problem recently, moving from .80 to .95 frets and in my
   case the remedy consisted of two things:
   First, I had to reform the fingerboard a little bit with a scraper so
   as to get it a little bit curved (it was actually curved the wrong way
   from the 4th fret up...). This might not be necessary in your case,
   just
   check with a metal ruler.
   Then  you need a VERY smooth round fingerboard edge - if the radious is
   too smaall the fret is lifted up from the board: a bit more scraping
   and
   finishing touch with some sanding did it for me. If your lute neck is
   veneered (like mine) however, be careful when rounding the edge - you
   can easily work through this thin layer...
   In addition to all this, I wrapped the fret gut a couple of times
   around
   a long needle nose plier, mostly the part for the knot and where the
   edgdes would come: this makes the gut much more flexible, the knot is
   easier to tie and the gut follows the edge much more smoothly.
   Hope this helps!
   Michael
   On Mon, 2013-07-15 at 15:29 -0700, sterling price wrote:
   Hi all--
   I recently changed the frets on my baroque lute (after many years
   of
   service). I went up from 1.10 mm to 1.20 mm on all frets. The
   problem I
   am having is there are a few frets that are not sitting all the
   way
   flat under the first course so it has a 'choked' sound on some
   notes. I
   know this wouldn't happen if the fingerboard was more curved or if
   I
   used smaller frets(not an option). Any advice on how to get these
   big
   frets to stay flat would be great. And yes they are very tight.
   Thanks,
   Sterling
   
   --
   
   
To get on or off this list see list information at
[1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

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

[LUTE] Big Fret Help

[sterling price]

   Hi all--
   I recently changed the frets on my baroque lute (after many years of
   service). I went up from 1.10 mm to 1.20 mm on all frets. The problem I
   am having is there are a few frets that are not sitting all the way
   flat under the first course so it has a 'choked' sound on some notes. I
   know this wouldn't happen if the fingerboard was more curved or if I
   used smaller frets(not an option). Any advice on how to get these big
   frets to stay flat would be great. And yes they are very tight.
   Thanks,
   Sterling

   --


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

[BAROQUE-LUTE] Re: My new classical baroque lute album

[sterling price]

   Hi-
   I just listened to the whole disc and I must say I am impressed. I
   might even go as far as saying astonished. This performance is quite
   good.
   I would be very interested to know more about your right hand technique
   and how it evolved for you.
   I didn't get the liner notes yet, but which lute are you playing?
   Sterling
 __

   From: Christopher Wilke chriswi...@yahoo.com
   To: baroque-lute@cs.dartmouth.edu
   Sent: Tuesday, June 4, 2013 10:33 AM
   Subject: [BAROQUE-LUTE] My new classical baroque lute album
 Dear all,
 It is with great joy and excitement that I am pleased to announce
   that
 my new solo album is now available on iTunes, Amazon (download) and
 CDBaby (download and physical CDs at
 [1]http://www.cdbaby.com/cd/christopherwilke1) as well as numerous
   other
 digital sites.
 Entitled Graceful Degradation, the album is dedicated to music by
   the
 last generation of lute composers, who left some of the most
   expressive
 pieces ever written for the instrument just before the dawn of the
 19^th century. Including works by J.A. Hasse, J.F. Kleinknecht, C.P.
 Durant, F.J. Haydn and an Anonymous sonata from the Rosani Lute Book,
 these wryly melodic works are by turns charming, witty, angry and
 melancholy. As was expected at the time, I have added my own cadenzas
 in several movements. A special emphasis has been placed on pieces
 embracing the highly expressive, proto-Romantic Empfindsamer Stil.
   Some
 of the works are period transcriptions of pieces intended for other
 instruments, demonstrating that the lute was very much involved with
 broader musical currents to the very end. This is valuable music that
 is rarely heard (the majority of the works are here recorded for the
 first time). I hope this project may broaden understanding of this
 important niche in our repertoire.
 Since this message goes to the lute list, I will also mention that
   this
 project has been a particularly personal and involved one for me.
   After
 having recorded a substantial portion, it became evident to me that
   the
 usual modern baroque lute right hand technique was neither entirely
 historically accurate nor adequate to the task of presenting this
 particular repertoire as it needed to be. I set the work aside and,
 over the course of three years, I subsequently dismantled and rebuilt
 my entire right hand technique so that I could present the detailed
 minutia of dynamic nuance, shadings of timbre, articulations, phrase
 structure and tempo control that period sources and the music itself
 demand. Returning to the project, I discovered that my previously
 recorded efforts, though acceptable, simply didn't do proper artistic
 justice to the core spirit of the pieces. It was only with the
   generous
 support of backers on Kickstarter.com (including several from this
 list) that I was able to muster up the courage to discard so much
 already completed work and finalize the project in the manner it
   needed
 to be.
 Thank you,
 Chris
 P.S. Liner notes are available at the bottom of the page at
   CDBaby.com
 Dr. Christopher Wilke
 D.M.A. Eastman School of Music
 Lutenist, Guitarist and Composer
 www.christopherwilke.com
 --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cdbaby.com/cd/christopherwilke1
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE-BUILDER] Re: Peg Sharpener Source

[sterling price]

   I made a shaper a while ago per the David Van Edwards but I wanted a
   comercial one. I just ordered a Chinese these thing from Ebay so I hope
   that works.
   --Sterling
   From: Andrew Hartig cittern2...@theaterofmusic.com
   To: lute-buil...@cs.dartmouth.edu
   Sent: Monday, March 4, 2013 12:01 PM
   Subject: [LUTE-BUILDER] Re: Peg Sharpener Source
   Dear Sterling,
   I use a similar method to Martyn's, only instead of making my own
   blades I have
   found that the replacement blades by StewMac work well. I've made maybe
   a
   half-dozen wooden taper jigs in this way for different tapers/sizes of
   reamers.
   I can send you photos, if you'd like.
   AMH
   --
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

[LUTE-BUILDER] Peg Sharpener Source

[sterling price]

   Hi all-
   Just wondering about a good source to get a peg sharpener in the US.
   The sharpener that Stewart-Macdonald has doesnt seem right for lute
   pegs...

   --Sterling

   --


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

[LUTE-BUILDER] Re: Pitch center on a 10 cs. lute

[sterling price]

   I have an 8 string guitar with an A first string at 65cm at 440. The
   size of the string is 0.41 and it sounds geat. It has been tuned up to
   pitch since 2008. I think it is nylon and I got it off my baroque lute.
   --Sterling
   From: Din Ghani d...@sardin.co.uk
   To: 'Paul Daverman' daverman.p...@sbcglobal.net;
   lute-buil...@cs.dartmouth.edu
   Sent: Tuesday, January 1, 2013 2:34 PM
   Subject: [LUTE-BUILDER] Re: Pitch center on a 10 cs. lute
   Hi Paul
   There is a useful explanation of the breaking limits for strings on the
   Aquila website:
   [1]http://www.aquilacorde.com/index.php?option=com_contentview=article
   idAI
   temid84lang=en
   Look for point 13 - however please note that the discussion is based on
   the
   old Nylgut material - according to their page on New Nylgut the
   breaking
   index for this is significantly higher than for the old version. This
   would
   seem to indicate that it would be possible to string a 65cm G-lute to
   A440
   using New Nylgut - has anyone had first-hand experience of this?
   On the more general issue of pitch, is there any specific reason for
   wanting
   to tune it to A440 (I am assuming that you are talking about it being
   nominally a G lute)? As Bill indicated, if you'll be playing solo
   mainly it
   doesn't really matter, and it's possible you might find the instrument
   of
   that size may work better at a lower pitch. Also, if you work with
   singers
   the lower pitch can be more comfortable for the voice.
   Best wishes
   Din
   -Original Message-
   From: [2]lute-...@cs.dartmouth.edu
   [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf
   Of William Samson
   Sent: 01 January 2013 20:42
   To: Paul Daverman; [4]lute-buil...@cs.dartmouth.edu
   Subject: [LUTE-BUILDER] Re: Pitch center on a 10 cs. lute
 Hi Paul,
 I have a 10c lute of 66cm scale.  The highest I can take it with a
 nylon chanterelle (the strongest material) is f# at A440 - and that's
 really pushing it.  I normally keep it at f.  Even at f, with a
   nylgut
 chanterelle, it tends to break quite frequently, which is why I use
 nylon for that one string.  Of course f at A440 is the same as g at
 A392 and as I normally play it solo it doesn't matter a bit.
 It makes no difference how thick or thin the chanterelle is (for a
 given material), it will always tend to break at the same pitch, so
 substituting a string of different diameter won't help.  So the
   problem
 isn't one of overstressing the lute if you tune it at A440, it's the
 impossibility of finding a string material for the chanterelle to
   take
 that pitch.
 For the record, A415 is a semitone down from A440 and A392 is a whole
 tone down from A440.
 Hope that helps!
 Bill
 From: Paul Daverman [5]daverman.p...@sbcglobal.net
 To: [6]lute-buil...@cs.dartmouth.edu
 Sent: Tuesday, 1 January 2013, 20:02
 Subject: [LUTE-BUILDER] Pitch center on a 10 cs. lute
   I am building a 10 cs. lute per Robert Lundberg's plans (10-cs
   Renaissance Lute, Dieffopruchar 1612).  I am to the point where I
 have
   begun looking at strings so that I have an idea of diameters, etc.
 As
   this is my first lute build, I am looking at Nylgut and am looking
   to
   tune to AD0.  One of the suppliers to which I have inquired has
   said
   that in A440 tuning, they have no strings at 65cm length that can
 take
   the tension for the chanderelle (and that no gut could either.)  He
   said that the instrument was probably meant for A92 and while he
 could
   supply strings in either tuning, I'd have to look elsewhere for a
   string for the chanderelle if I chose A440.
   I am wondering if any of you can talk to this topic.  Would I be
   over
   stressing the lute if I tune to the  modern tuning of A440?  Would
 A392
   have been the intended tuning or maybe A415?  What other
 repercussions
   of tuning one way vs. another should I know about?  My music theory
 is
   a bit poor - is the difference between going from A440 tuning to
   A392
   really any different that transposing down a (??) major second?
   Any
   word to help get all this straight in my mind would be appreciated.
   While I understand that pitch is all relative, I'm having a
 difficult
   time getting my arms around the practical understanding of what I
   should do for stringing.  Thanks.
   Paul
   --
 To get on or off this list see list information at
 [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.aquilacorde.com/index.php?option=com_contentview=articleidAI
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-buil...@cs.dartmouth.edu
   5. 

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

[sterling price]

   Hi--this is interesting. Sometimes I have left a carbon and silver
   strung 13 course lute for months of not playing and then take it out of
   the case and -all- the strings are still in tune. I do live in a very
   dry stable climate though...
   --Sterling
   From: Claudia Funder claudia.fun...@gmail.com
   To: Bruno Correia bruno.l...@gmail.com
   Cc: lute-cs. edu lute@cs.dartmouth.edu
   Sent: Friday, October 5, 2012 8:04 PM
   Subject: [LUTE] Re: What is the point of synthetics?
   Hi All
   My lute originally (made 2010) had carbon strings and I changed to
   nylgut. The tuning, tuning, tuning every 5 mintues drove me nuts and I
   did want more of a 'gut' sound.  Living in Melbourne (Aus) in a house
   with little heating or air condiditoning the temperateure jumps like a
   grasshopper and the humidity in summer can be high.  Although, no, its
   not Singapore.
   I've found the nylgut much more steady. Im really not sure of the
   benefit of carbon strings...
   love to all.
   Claudia
   On 06/10/2012, at 4:33 AM, Bruno Correia wrote:
 Funny, I was thinking about the same thing today. My instruments are
 never in tune when taken out of the case for the first time everyday
 day. I'm on sinthetics (Aquila), but I believe on gut the result
   would
 be much worse, the weather in Rio is very close to Singapore...
   
   
   
   
   
 2012/10/5 Benjamin Narvey [1][1]luthi...@gmail.com
   
   Dear Luters,
   I know that much has been made about tuning issues pertaining to
   gut
   strings, but it strikes me now how little has been said about the
   same difficulty with synthetics/modern strings.
   For the first time in ages I am playing on a modern-strung theorbo
   belonging to a student of mine for rehearsals of a Fairy Queen
   while I impatiently await the arrival of my new double luth in
   some weeks (more on this giraffe anon). I am simply aghast at how
   badly carbon strings go out of tune, even though they are not
   supposed to. (Nylon/nylgut fares better.) Indeed, the (ugh)
   overwound Savarez guitar bass strings are the worst offenders of
   all, going madly out of tune sometimes: not surprising they are so
   sensitive given how metal is such a superb conducting material.
   The
   tuning got so sticky I actually took the instrument to a lutemaker
   since I thought it had to be peg slippage, but no. And of course,
   with all these different modern materials, the different string
   types are going out if tune differently. Superb.
   I just can't believe I forgot about how difficult tuning
   synthetics
   can be. But more importantly, it leads me to question what the
   point
   of playing on synthetics is: after all, the reason why players use
   them is since they are supposed to bally well stay in tune... and
   I
   am really not so sure given my current experience that they do
   this
   better than gut.
   Thoughts?
   Benjamin
   Sent from my iPhone
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
 --
   
 Bruno Correia
   
   
   
 Pesquisador autonomo da pratica e interpretac,ao
   
 historicamente informada no alaude e teorba.
   
 Doutor em Praticas Interpretativas pela
   
 Universidade Federal do Estado do Rio de Janeiro.
   
 --
   
References
   
 1. mailto:[2]luthi...@gmail.com
 2. [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   

   --

References

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

[LUTE] Re: Best Body Frets?

[sterling price]

   I am quite picky about body frets. I always use a hard material like
   ebony or rosewood. On my holly lute the body frets are a
   holly/ebony/holly sandwich and on another lute I have ebony/ivory
   sandwich. These lutes sound great in high positions.
   --Sterling
   From: Stephan Olbertz stephan.olbe...@web.de
   To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
   Sent: Tuesday, September 25, 2012 11:16 PM
   Subject: [LUTE] Re: Best Body Frets?
   Bone is also nice.
   Regards
   Stephan
   Am 26.09.2012, 01:37 Uhr, schrieb Dan Winheld [1]dwinh...@lmi.net:
A question tossed onto the waves of this Ocean of Lute Wisdom-
   
Any consensus regarding the best material for body frets? My woodies
often sound a little too woody- they are some light colored wood,
   no
idea what species; and lately I've been knocking them off the
soundboard. So instead of just regluing them, I wonder if other
materials might sound better (but still be easily glued, preferably
   with
white glue?)
   
I can think of ebony, maybe other legal/available tropical or other
hardwoods, other materials? Ivory-like materials, celluloid, etc? And
   a
format that's easy for the workshop-challenged non-luthier to deal
   with.
(non-tapered toothpicks, half-round or something of that nature.)
   
Thanks, all.
Dan
   
   
   
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --
   Viele Gruesse
   Best regards
   Stephan Olbertz

   --

References

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

[LUTE] Re: Best Body Frets?

[sterling price]

   Hi-they are not parallel to the soundboard. The layers are quite thin
   but with three layers it becomes a big fret.
   I used a drum sander to make the thin layers.
   -Sterling
   From: Ed Durbrow edurb...@sea.mail.or.jp
   To: sterling price spiffys84...@yahoo.com; LuteNet list
   lute@cs.dartmouth.edu
   Sent: Wednesday, September 26, 2012 6:54 AM
   Subject: Re: [LUTE] Best Body Frets?
   How does the sandwich work? Layers parallel to the soundboard or do
   they look like slices of oreos from the top? if it is parallel, those
   would be incredibly thin slices.
   On Sep 26, 2012, at 3:20 PM, sterling price [1]spiffys84...@yahoo.com
   wrote:
 I am quite picky about body frets. I always use a hard material like
 ebony or rosewood. On my holly lute the body frets are a
 holly/ebony/holly sandwich and on another lute I have ebony/ivory
 sandwich. These lutes sound great in high positions.
 --Sterling
 From: Stephan Olbertz [2]stephan.olbe...@web.de
 To: [3]lute-cs.dartmouth.edu [4]lute@cs.dartmouth.edu
 Sent: Tuesday, September 25, 2012 11:16 PM
 Subject: [LUTE] Re: Best Body Frets?
 Bone is also nice.
 Regards
 Stephan
 Am 26.09.2012, 01:37 Uhr, schrieb Dan Winheld
   [1][5]dwinh...@lmi.net:
A question tossed onto the waves of this Ocean of Lute Wisdom-
   
Any consensus regarding the best material for body frets? My woodies
often sound a little too woody- they are some light colored wood,
 no
idea what species; and lately I've been knocking them off the
soundboard. So instead of just regluing them, I wonder if other
materials might sound better (but still be easily glued, preferably
 with
white glue?)
   
I can think of ebony, maybe other legal/available tropical or other
hardwoods, other materials? Ivory-like materials, celluloid, etc?
   And
 a
format that's easy for the workshop-challenged non-luthier to deal
 with.
(non-tapered toothpicks, half-round or something of that nature.)
   
Thanks, all.
Dan
   
   
   
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
 --
 Viele Gruesse
 Best regards
 Stephan Olbertz
   
 --
   
References
   
 1. mailto:[6]dwinh...@lmi.net
   

   --

References

   1. mailto:spiffys84...@yahoo.com
   2. mailto:stephan.olbe...@web.de
   3. http://lute-cs.dartmouth.edu/
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:dwinh...@lmi.net
   6. mailto:dwinh...@lmi.net

[LUTE-BUILDER] Re: Archlute Bridge

[sterling price]

   Hi--I am sure that the bridge is ebony because I have drilled/enlarged
   several holes on it and its black dust all the way though. I am worried
   about the braces and the soundboard. Here in Utah the humidity often
   gets as low as 5-10%(like today).
   I am still looking for someone to do the work on this lute. Any ideas?

   --Sterling
   From: Richard Lees rel...@sbcglobal.net
   To: Dana Emery orphar...@gmail.com; lute-buil...@cs.dartmouth.edu
   lute-buil...@cs.dartmouth.edu
   Sent: Monday, June 18, 2012 8:12 PM
   Subject: [LUTE-BUILDER] Re: Archlute Bridge
   As usual,
   Dana Emery strikes again !
   Excellent post ...
   excellent post...
   Sonically too, Ebony is not the most musical of woods and while I have
   retopped a beautiful archlute for a player out here which had ebony
   staves, one could lightly sense the enharmonic character of ebony in
   its sound... now for bridges,  Dana is right with respect to correct
   build procedures ..But if our mystery bridge turns out to actually
   be ebony ( and I have seen some pretty strange stuff done in our modern
   era with lutes) now would be the best time to replace it
   I especially like Dana's suggestion to check all joints !
   In the retopping of the archlute I mentioned above MANY braces (well
   over half!) had crystalized glue joints and so I  had to re-brace the
   entire instrument. This instrument which was made by a pretty well
   known luthier was built in the late 70s.
   AND if the top is pushing 20 plus years , Dana's additional suggestion
   of simply putting on a new top is indeed called for...
   A last note to Dana's post
   some years ago i posted a quick observation on cracks, and its worth
   mentioning  it again.
   And Dana is yet again right on target
   The Spanish masters of lutherie during the mid 60s  many of  whom I had
   the great honor to know , were absolutely firm on this issue.. We are
   to brace perhaps 5 or 6 percent LOW with respect to the expected
   humidity the instrument is going typically see This is to insure
   the health of the top and to make sure the top sounds well too.
   BUT there is another monster lurking here..
   If the players don't also agressively monitor EXCESSIVE HUMIDITY as
   when when the relative humidity is in excess of say 20  percent of the
   build target, then the wood will expand accordingly ... Now since the
   plantilla or shape of the instrument is fixed by the braces and bowl ,
   the softer top, as it expands,  has no where to go...
   What happens then is that the wood first bellies upwards and then
   starts to crush itself, under these high humidity conditions and then,
   when the humidity drops , the top can REALLY crack,  and whats worse,
   at a higher level of humidity even than the target build point!
   This occurs because by virtue of have been laterally crushed, the top
   is fundamentally NARROWER than before. When the humidity drops and the
   top shrinks even further, these catastrophic failures can occur.
   I restored several German harp guitars like this... The back of one of
   them, a Haberman instrument, had shrunk so badly that it lost over1/4
   of an inch in width relative to plantilla so that when I removed the
   back you could hear the instrument groan as the stresses were relieved
   and the sides started to reconform .
   If this is what has happened to Sterling's lute, then i am afraid a new
   top is indeed in order..
   Richard Lees
   On 6/18/2012 3:32 PM, Dana Emery wrote:
First point, much of that which is black on musical instruments is
   dyed maple and not ebony proper.  The wood used for a lute bridge does
   need to stand up to the strings, but need not be as stiff as ebony,
   fruitwood (pear, plum, apple) are recomended from what I recall.
As has been pointed out your enemy is thermal mass.  A replacement
   strategy allows destructive removal.  Working on the naked top will
   allow the other repair you want to do, and in general you can
   rejuvinate all the joints as you wish.
cracks in the top of a lute are troublesome, and likely when an
   instrument travels to a drier climate than that it was built in (er,
   designed for).  A piano top is designed to have a slight but crucial
   arch that keeps all the joints in compression as it dries out.  lute
   tops are flatter than can allow that, and actually cave in in places
   (especially between bridge and rose); rising in others (below bridge).
An entirely new top might not be a bad idea at this point, but you
   seem inexperienced for that, still should you have the resources, it
   might be an opportunity to consider exploring.  You will want to make
   thickness measuring calipers as well as a go-bar deck and perhaps some
   other specialist tools.  The scrape of the present instrument can be
   used for a model.  You might look for a violin maker in your area to
   share a brew or two with and 

[LUTE-BUILDER] Re: Archlute Bridge

[sterling price]

   Richard--thanks very much---this is just the sort of info I was looking
   for.
   Taking a lute apart sort of scares me--the fear is I will just ruin
   it.  This lute has other issues--it came from England to very dry Utah
   18 years ago and the soundboard developed a split at the seam soon
   after it got here. Now the split goes almost the whole top but it has
   not hurt playability. Perhaps I should just make a new soundboard
   I will keep you all posted on what I do.

   --Sterling
   From: Richard Lees rel...@sbcglobal.net
   To: sterling price spiffys84...@yahoo.com;
   lute-buil...@cs.dartmouth.edu lute-buil...@cs.dartmouth.edu
   Sent: Friday, June 15, 2012 12:03 AM
   Subject: [LUTE-BUILDER] Re: Archlute Bridge
   Hello Sterling!!
   Its been a long time posting for me, I have been pretty busy with
   work...
   I offer what I have done in the past.
   Many of the EXCELLENT builders who post here will no doubt have
   wonderful input to give you , no doubt..
   For my part, having replaced a number of bridges in restoration work
   as well as gluing on bridges in  new construction,  I would say
   It is much better to remove the top. MUCH BETTER in fact
   Your description is good by the way, and certainly justifies replacing
   the bridge.
   Also since the current bridge is not to be kept, you do have a great
   advantage here.
   However there are issues .
   Removing a well glued on bridge is no easy task. Heat and moisture are
   required and the application of these forces can easily damage a top
   beyond repair...
   After you remove the top from the bowl , you must focus the heat and
   moisture very carefully, and take extreme caution not to be impatient
   and lift up the bridge with any force as this could create tear outs in
   the top underneath. This situation is a nightmare to deal with , but
   CAN be addressed if the damage is shallow.
   Given that you are going to make a new bridge, I suggest that you
   begin by removing whatever top detail has been placed on the top of the
   old bridge ( if any) and then to CAREFULLY plane down the old bridge
   with a block plane to where the remaining bridge is perhaps 1.5 mills
   thick or less  if you can ...
   Now you can place hot water on a rag cut to fit EXACTLY on top of the
   remaining bridge with a LITTLE overlap  and then cover the cloth with
   tin foil or saran wrap to prevent the water from evaporating.  Please
   leave this in place for a while .
   As  thin as the remainder of the bridge now is, the water and heat
   should penetrate fairly well into the top and glue joint underneath,
   and begin to loosen the bond.
   Now under one of the ears see if you can't slip a single edged razor
   blade between the bottom of the bridge and the top... You must not
   force this  if there is any resistance you should stop immediately!
   You will need to apply more heat and moisture using hot water and a
   SMALL  iron directly on the top of the remainder of the bridge on the
   area where you wish to start, and try again... I stress that it is
   important to be careful to control how much heat and moisture is
   absorbed in the top and most importantly  to keep this in area as close
   to the perimeter of the bridge as possible..
   If you have removed the top, of course you can apply moisture and heat
   from UNDERNEATH the top just below bridge, and be very effective as the
   top itself is more porous than the ebony.
   Carefully move the razor blade along the joint until the bridge
   remainder lifts up completely along its length
   At this point I recommend damping the top at least around the area
   where there has been heat with cold water and prefer myself , to damp
   the entire top - top and bottom to equalize the tensions so as to  to
   help avoid selective shrinking of the top and the ensuing warps that
   will incur as a result. If you do damp the entire top , AVOID the ROSE
   TOP AND BOTTOM 
   Just after the top has been damped, I then place the top (topside down
   ) in a go bar box ( you must  use some cellotape on the go bar box
   bottom where the bridge area is going to be , so that the remaining
   glue in the bridge area of the top doesn't bond it  to the box)  and
   then  using cellotaped bars of your manufacture (say 1/2 x 1  x 12
   inches or so) go bar clamp these bars down across where the bridge was
   located  to ensure that the top is flat in this critical area.  Also
   brace the existing lateral braces of the top by placing go bars in the
   center of each of these lateral braces and at each end , and put go
   bars on the J bar as well as the treble bars I recommend leaving it
   like this for several days until the top has stabilized, is flat,  and
   all moisture you have put into the top is gone.
   Now comes an interesting thing..
   The new bridge should actually be glued on with the top with the  same
   humidity  as when all the braces were

[LUTE-BUILDER] Archlute Bridge

[sterling price]

   Hi-I'm not sure if this list is still active so here goes---I have a
   small archlute with a bridge that is made of ebony and I would like to
   replace it with something more appropriate. Also because the string
   spacing and action is all wrong. My question is--what is involved in
   removing a bridge and replacing it without removing the soundboard? I
   just need some advice on how to proceed, or if I should leave it alone.

   --Sterling

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[LUTE] Re: A special request (Kapsberger)

[sterling price]

   Arthur--any idea what Yale paid for this book? Just wondering

   --Sterling
   From: A. J. Ness arthurjn...@verizon.net
   To: hera caius caiush2...@yahoo.com; Lute List
   lute@cs.dartmouth.edu
   Sent: Wednesday, May 30, 2012 3:41 PM
   Subject: [LUTE] Re: A special request (Kapsberger)
   Dear  Caius,
   For Kapsberger's  third book of chitarone music, there is only one copy
   known, and it lacks the pages you ask about.  That
   copy was in the magnificent Berlin library of Werner Wolffheim which
   went on
   the auction block in 193?.  A private individual in Bologna acquired
   that
   copy.  For years the book was known only from its listing in the
   auction catalogue.
   In 2001 several lute tablatures were announced for auction by
   Sotheby's.
   Yale wanted a German tablature for their rare book collection (they had
   no
   examples of German tablature), and so gathered up monies to purchase a
   Heckel tablature which was in the sale.  Yale got lucky.  The price on
   the
   Heckel was driven beyond their budget.  (It's the most unexciting book
   of
   lute music everg; and ten copies are known to exist.)  So they
   reconnoitered and decided on the Kapsberger
   third chitarone book.  Little did they know that it was the copy from
   Bologna, the only one known to exist.  What a coup!  For all of us,
   because
   its purchase by Yale  finally made that Kapsberger volume available to
   everyone.
   And our Diego Cantalupi had his own coup.  He made the first recording
   of
   its music (a fine one, too!).  AND the Yale library permitted him to
   include a facsimile of the
   entire print in his CD.  http://www.mvcremona.it/CDKapsbergeEngl.html
   This just tends to illustrate how ephemeral is the lute repertory.  One
   copy of a
   book that was surely issued in several hundred copies.  From a court
   case, we know Dowland's third book of ayres was printed in 1250
   copies.  Less than a dozen survive.  u.s.w.
   Arthur.
   - Original Message - From: hera caius
   [1]caiush2...@yahoo.com
   To: [2]lute@cs.dartmouth.edu
   Sent: Wednesday, May 30, 2012 10:44 AM
   Subject: [LUTE] A special request
   Hello,
 I have played some of the music from the Kapsberger third book for
 theorbo. This book I received from somebody but it some of the pages
 are missing...so it starts at page 9 (in the original numbering. It
 would be so perfect if somebody can provide me the pages 1 to 8 (I
 guess there are two toccatas) in pdf or jpg. Thanks in advance.
 Caius Hera
   
 --
   
   
To get on or off this list see list information at
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   --

References

   1. mailto:caiush2...@yahoo.com
   2. mailto:lute@cs.dartmouth.edu

[LUTE] Attiorbato

[sterling price]

   Hi--Last week I asked the list about tuning my 14 course attiorbato as
   a tiorbino...well I decided to keep it as a liuto attiorbato. I had not
   played it at all for several years and I am now having a blast playing
   some of the archlute rep as well as ren lute music including Dowland
   (don't be too shocked...) Anyway--I have a question about my lute. It
   was my first lute, bought in 1994 from the early Music Shop and was
   originally 12 courses. I'm not sure what its based on, but it looks
   like the VA Choc attiorbato. It is signed thus: T.A. Johnson,
   Newcastle on Tyne 1991. Does anyone have any info on this maker? And
   any ideas on why it was made with just 12 courses? I have since
   converted it to 14 courses and it works great.

   --Sterling

   --


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[LUTE] Re: Allemande in d minor by SLW

[sterling price]

   I'm so Proud:). He has only been playing a few months.

   --Sterling
   From: Adam Olsen arol...@gmail.com
   To: Lute List lute@cs.dartmouth.edu
   Sent: Monday, May 21, 2012 9:01 PM
   Subject: [LUTE] Allemande in d minor by SLW
   Tried my hand at this YouTube stuff.  I figured you folks don't see
   enough newbie videos on here.
   http://www.youtube.com/watch?v=s4JEZwneDd4
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

[LUTE] Tiorbino

[sterling price]

   Hi all-
   Many years ago I strung my attiorbato as a tiorbino and it worked quite
   well. I only kept it that way for a while though as I wanted to try
   other things. Anyway I was thinking of doing it again and I have a few
   questions about tiorbinos. Were they always single strung or ever
   double? Mine was single, but I think double would be interesting and I
   could do that. I think the only known music that specifies tiorbino is
   the theorbo/tiorbino duets of Castaldi, but I have no one to play these
   with so I would be playing solo music. By the way my attiorbato is
   57/85cm and I know that real tiorbinos are smaller.
   Any thoughts on string type/material?

   --Sterling

   --


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[LUTE] Re: [LUTE] Re: Bach’s Lute Suites: This Moose is Blasted

[sterling price]

   Hi-sorry if this has been discussed in this thread, but consider
   Bach's BWV 1025 for violin and harpsichord which was only recently
   (1993) discovered to be based on a lute suite by Weiss. Did Weiss
   supply Bach with a score in staff notation, or did Bach read from the
   tab?

   --Sterling
   From: howard posner howardpos...@ca.rr.com
   To: lute net lute@cs.dartmouth.edu
   Sent: Monday, April 30, 2012 1:37 PM
   Subject: [LUTE] Re: Bach's Lute Suites: This Moose is Blasted
   On Apr 30, 2012, at 11:34 AM, Roman Turovsky wrote:
JSB didn't play gamba either as evidenced by his reassignment of
   nicely playable lute part in the MatthACURusPassion to an impossible
   one for gamba in the 2nd version.
Any gambist would tell you that that gamba part is pure hell.
   And anyone who doesn't have to worry about sounding good playing it
   will tell you that it's brilliantly composed to illustrate the pain
   and weight in the text:
   Come, sweet cross, I will say then: My Jesus, give it always to me.
   Should my pain become too heavy, Then help me to carry it myself.
   Viewed in that light, replacing the lute with gamba was a
   masterstroke.
   Whether you agree or not, you have to keep in mind that a composer has
   more things in mind than whether the player finds a part easy or
   difficult.
   --
   To get on or off this list see list information at
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[BAROQUE-LUTE] Re: Mouton's campanella technique

[sterling price]

   Hi-I use this technique all the time in J.S. Bach transcriptions. Its
   very handy. I have my own way of notating it that is more clear than
   using a big and little letter or number.

   --Sterling
   From: Mathias Roesel mathias.roe...@t-online.de
   To: Baroque Lute Net baroque-lute@cs.dartmouth.edu
   Sent: Wednesday, April 11, 2012 4:12 PM
   Subject: [BAROQUE-LUTE] Re: Mouton's campanella technique
  Here Mouton uses his unique(?) technique of playing first only
   the low octave of a bass course and only after some higher strings
   the
   upper octave of the same bass course. So it is actually the
   campanella technique better known in baroque guitar music.
   ...
   Does anyone know, whether any other baroque lutenist used this
   technique?
   There is an allemande by Graf Pergen in Giesbert's method where
   this
   technique is used also.
   Mathias
 --
   To get on or off this list see list information at
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[LUTE] Archlute by Dan Larson for sale

[sterling price]

   - Forwarded Message -
   From: sterling price spiffys84...@yahoo.com
   To: baroque lute list baroque-l...@cs.dartmouth.edu;
   lute@cs.dartmouth.edu lute@cs.dartmouth.edu
   Sent: Thursday, March 22, 2012 9:44 PM
   Subject: [BAROQUE-LUTE] Archlute by Dan Larson for sale
 Hi folks--I am selling my Dan Larson archlute. I'm selling to help
   fund
 the trip to the LSA seminar in Cleveland this year. I'm practically
 giving it away at this price...sigh.
 Here is the ad:
   14 course Archlute made by Dan Larson 1995. After Sellas.
 8x2--63.8cm.  6x1--138.5cm. 35 maple ribs. Beautiful lute with a few
 flaws. I ordered this lute new in 1995. Larson hasn't made this model
 for many years. Comes with heavy Harptone case.
 Short YouTube video showing this archlute:
 [1]http://youtu.be/fxZnJr61aRA
 $2,500 US
 Sterling Price
 [1]spiffys84...@yahoo.com
 Ask me for pictures.
 --
   References
 1. [2]http://youtu.be/fxZnJr61aRA
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:spiffys84...@yahoo.com
   2. http://youtu.be/fxZnJr61aRA

[BAROQUE-LUTE] Re: f#-minor feels good...:-)

[sterling price]

   Hi-I love those sharp keys. I was working on writing a suite in c#minor
   and got pretty far with it but then decided to transpose it to c minor,
   mostly because I don't like tuning the d# bass. Of course now I have to
   tune an a flat though...

   --Sterling
   From: wikla wi...@cs.helsinki.fi
   To: baroque-lute@cs.dartmouth.edu
   Sent: Saturday, January 14, 2012 1:48 PM
   Subject: [BAROQUE-LUTE] f#-minor feels good...:-)
   Dear baroque lutenists,
   I just made my modest 1st tries on f#-minor pieces on d-minor baroque
   lute.
   That key actually seems to be easier to get better in tune than the ET
   compared to many of the easier keys! I am really quite surprised! If
   interested, see my
 [1]http://www.youtube.com/watch?v=JcGrgWCakxwfeature=youtu.be
   and also
 http://vimeo.com/35062443
   It will be interesting to try more of this f#-minor! And also A-major
   seems
   to have an interesting character...
   Any experienced comments of the feel and touch of those 3 sharp + even
   more
   -pieces?  :-)
   Best,
   Arto
   To get on or off this list see list information at
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References

   1. http://www.youtube.com/watch?v=JcGrgWCakxwfeature=youtu.be

[BAROQUE-LUTE] Re: Early Recordings

[sterling price]

   Ah--thanks for reminding me of your site. I was mistaken--it wasn't
   Satoh but Lutz Kirchof with Sonata 40. I am still anxious to hear it as
   it seems to be quite a rare recording.
   --Sterling
   From: Peter Van Dessel peter.vandes...@gep.kuleuven.be
   To: sterling price spiffys84...@yahoo.com
   Sent: Monday, December 19, 2011 1:05 AM
   Subject: Re: [BAROQUE-LUTE] Early Recordings
   Dear Sterling,
   I, for one, have no knowledge of a Satoh recording of Sonata 40.  But
   if this is confirmed, I will immediately incorporate it in my listing
   of Weiss lute recordings (see [1]www.slweiss.de).
   Regards,
   Peter Van Dessel
   Oud-Heverleestraat 35
   BaEUR3001  Leuven
   Belgium
   On 19 Dec 2011, at 08:45, sterling price wrote:
 Like many of you, I collect baroque lute recordings(on LP and CD).
   I've
 been collecting them since before I first got a baroque lute in
   1994.
 My latest Lp I recieved from Europe-a Toyohiko Satoh record from
   1981
 of Bach BWV 995 and 1007. The sleeve says the lute used is a Van der
 Waals from 1973 and I am amazed at how great it sounds--almost too
   good
 for a 1973 lute. Anyway, my question is--I have heard of a Satoh
 recording with Weiss sonata 40 in C major but have never seen it.
   Does
 anyone know if it exists? I am dying to hear it...
   
 --Sterling
   
 --
   
   
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.slweiss.de/

[BAROQUE-LUTE] Re: Early Recordings

[sterling price]

   Ok-now after looking at the Weiss recording site I remember which Satoh
   recording I was looking for. Its:
   SLW: Lautenmusik aEUR Lute Music  - 3LP / Philips

   with Sonata 46 in A that interests me. I have never seen this lp
   anywhere.

   -Sterling

   From: sterling price spiffys84...@yahoo.com
   To: Peter Van Dessel peter.vandes...@gep.kuleuven.be; baroque lute
   list baroque-lute@cs.dartmouth.edu
   Sent: Monday, December 19, 2011 1:31 AM
   Subject: [BAROQUE-LUTE] Re: Early Recordings
 Ah--thanks for reminding me of your site. I was mistaken--it wasn't
 Satoh but Lutz Kirchof with Sonata 40. I am still anxious to hear it
   as
 it seems to be quite a rare recording.
 --Sterling
 From: Peter Van Dessel [1]peter.vandes...@gep.kuleuven.be
 To: sterling price [2]spiffys84...@yahoo.com
 Sent: Monday, December 19, 2011 1:05 AM
 Subject: Re: [BAROQUE-LUTE] Early Recordings
 Dear Sterling,
 I, for one, have no knowledge of a Satoh recording of Sonata 40.  But
 if this is confirmed, I will immediately incorporate it in my listing
 of Weiss lute recordings (see [1][3]www.slweiss.de).
 Regards,
 Peter Van Dessel
 Oud-Heverleestraat 35
 BaEUR3001  Leuven
 Belgium
 On 19 Dec 2011, at 08:45, sterling price wrote:
   Like many of you, I collect baroque lute recordings(on LP and CD).
 I've
   been collecting them since before I first got a baroque lute in
 1994.
   My latest Lp I recieved from Europe-a Toyohiko Satoh record from
 1981
   of Bach BWV 995 and 1007. The sleeve says the lute used is a Van
   der
   Waals from 1973 and I am amazed at how great it sounds--almost too
 good
   for a 1973 lute. Anyway, my question is--I have heard of a Satoh
   recording with Weiss sonata 40 in C major but have never seen it.
 Does
   anyone know if it exists? I am dying to hear it...
 
   --Sterling
 
   --
 
 
  To get on or off this list see list information at
  http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. http://www.slweiss.de/

   --

References

   1. mailto:peter.vandes...@gep.kuleuven.be
   2. mailto:spiffys84...@yahoo.com
   3. http://www.slweiss.de/

[BAROQUE-LUTE] Early Recordings

[sterling price]

   Like many of you, I collect baroque lute recordings(on LP and CD). I've
   been collecting them since before I first got a baroque lute in 1994.
   My latest Lp I recieved from Europe-a Toyohiko Satoh record from 1981
   of Bach BWV 995 and 1007. The sleeve says the lute used is a Van der
   Waals from 1973 and I am amazed at how great it sounds--almost too good
   for a 1973 lute. Anyway, my question is--I have heard of a Satoh
   recording with Weiss sonata 40 in C major but have never seen it. Does
   anyone know if it exists? I am dying to hear it...

   --Sterling

   --


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