[LUTE] Re: Loose frets
I actually never thought of it...but it is a good idea as they would
tighten up upon drying.
Bruno
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Message d'origine
De : l...@reasonablefax.com
Date : 18-03-09 3:57 PM (GMT-05:00)
à : howardpos...@ca.rr.com, lute@cs.dartmouth.edu
Objet : [LUTE] Re: Loose frets
Does anyone else dampen their fret gut with water before tying them? I
dip my fingers into water and run the string through them. Then let
them sit a little to soften just a tad. If needed, I rewet the part
that is going to make the knot so that it is flexible. I tie the fret
on below where it is going to end up, and allow it to dry before
pulling into position.
I don't play lute enough to change frets much, but I have found the
wetting to be useful.
-Anne Burns
On Fri, 9 Mar 2018 09:01:32 -0800, howard posner wrote:
> On Mar 9, 2018, at 8:12 AM, John Mardinly wrote:
>
> My frets never come loose and they have not worn out yet. They are
> metal.
I want to know how you tied them on in the first place. You must have
really strong fingers.
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[LUTE] Re: Cherbury lute book
the Montreal community will be able to get stoned legay as of july
1st...personally at 59..I am no longer interested..prefer playing
Ballard and Gaultier
Bruno
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Message d'origine
De : Dan Winheld
Date : 18-02-01 8:44 PM (GMT-05:00)
à : Susan Sandman , Tristan von Neumann
Cc : lutelist Net
Objet : [LUTE] Re: Cherbury lute book
They are legalizing Marijuana all over the place, come to California if
you want to get stoned! (I gave up that little distraction decades ago,
but I also much prefer Ballard). :-D
Dan
On 2/1/2018 5:15 PM, Susan Sandman wrote:
> Stoning is medieval, appropriate only hundreds of years before...
> Susan
> On Thu, Feb 1, 2018 at 6:46 PM Tristan von Neumann
> <[1]tristanvonneum...@gmx.de> wrote:
>
> Do I get stoned by the community if I say that I like Ballard
more
> anyway? :)
> Am 02.02.2018 um 00:36 schrieb Jean-Marie Poirier:
> > En guise de conclusion ;-) :
> > If you look at the chronological development of Ennemond's
career
> and life, his "his high reputation" as a baroque lute super
hero
> simply doesn't hold.
> > So there must be other material around to explain this
phenomenon.
> > Cherbury is only one piece in the puzzle and certainly not
the
> most interesting one concerning old Ennemond! There is a lot
more to
> see and play in at least a dozen other ms. and of course his
> production in accords nouveaux is another essential aspect of
the
> problem.
> >
> > Merci de votre int̮̩r̮̻t et la "chasse" continue...
:-)!
> > Best,
> > Jean-Marie
> >
> >
> >> Le 1 f̮̩vr. 2018 ̮ 22:53, G. C. <[2]kalei...@gmail.com>
a ̮̩crit
> :
> >>
> >> PS.
> >> And of course, I meant to say "you and Jean-Marie"
SORRY! :D
> >> On Thu, Feb 1, 2018 at 10:27 PM, G. C.
> <[1][3]kalei...@gmail.com> wrote:
> >>
> >> Great that you feel that way, Ron. I'm just saying,
that
> >> comparing to
> >> what there is of real quality music for the lute
out
> there, and
> >> trying
> >> to keep in mind, the "high reputation" of Ennemond
> Gaultier, I'm
> >> sadly,
> >> not at all impressed by these alleged simple
courantes
> and voltas
> >> in
> >> Cherbury. Whatever his fame might otherwise be,
> these little
> >> pieces
> >> just don't cut the mustard IMHO.
> >> But if you, as a renowned player, recognise
Ennemond's
> style in
> >> those
> >> little ditties, I'm definitely not going to argue.
:)
> >> Best
> >> G
> >> On Thu, Feb 1, 2018 at 10:09 PM, Ron Andrico
> >> <[1][2][4]praelu...@hotmail.com>
> >> wrote:
> >> G, I think you may have misunderstood my
message.
> I was
> >> not
> >>saying
> >> there were concordances in the CNRS edition of
> Vieux
> >> Gaultier
> >>that
> >> definitely linked pieces in Herbert to the
proper
> Gaultier.
> >> I
> >>said
> >> that one could easily identify the style of
music
> in that
> >> edition
> >>and
> >> compare to the sparse style of the Herbert
pieces
> attributed
> >> to
> >> Gaultier. From a player's point of view, I
feel
> a very
> >> strong
> >> similarity, and one only has to supply
ornamented
> repeats in
> >> the
> >>proper
> >> style to flesh out the bones of these pieces
and
> make some
> >> very
> >>fine
> >> music.
> >> RA
> >> --
> >> References
> >> 1. mailto:[3][5]praelu...@hotmail.com
> >> To get on or off this list see list information at
> >>
> [4][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>
> >> --
>
[LUTE] Re: KF vs. new Aquila bass strings
I still, to this day, dont understand why we have no surviving examples
of lute bass strings on all those lutes in museums..surely not every
lute was transformed or adapted for post renaissance and baroque
playing..
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Message d'origine
De : Dan Winheld
Date : 17-08-31 12:18 PM (GMT-05:00)
à : Lute List
Objet : [LUTE] Re: KF vs. new Aquila bass strings
And not to be forgotten, the great work of Dan Larson of "Gamut"
Strings- using real gut subjected to great research & creativity to
bring us lute strings- esp. those troublesome basses- that come closer
to a "real" thing!
Dan
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[LUTE] Re: La folia
I have one in french tab somewhere can t remember where I found
it..will search and get back to u
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Original message
From: "Braig, Eugene"
Date: 2017-06-10 8:41 AM (GMT-05:00)
To: LuteNet list
Subject: [LUTE] Re: La folia
I can't fully answer, but I can narrow your search. Unfortunately, I
think several of the early versions of La Folia will be in Italian
tablature; I don't know what of these have been subsequently set in
French tablature. Dall'Aquila's many settings of La Cara Cossa will be
for six-course lute. For vihuela (functionally 6-course lute), there
are Pisador's Pavana sobre La Folia, Valderrábano's Pavana and an
anonymous Diferencias sobre Folias in the Silva de Sirenas manuscript,
and Mendoza's Diferencias de FolÃas in the Ramillete de Flores
manuscript. For four-course guitar (which could be pretty easily
realized on renaissance lute by limiting your use of its range) are
Mudarra's Una Pavana and Le Roy's settling of the song "Mes pas
semez." This last I know was originally in French tablature.
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Wim Loos
Sent: Saturday, June 10, 2017 7:28 AM
To: LuteNet list
Subject: [LUTE] La folia
Dear friends,
I'm looking for La folia in French tablature for Renaissance lute.
Does
anyone where I can find it.
Thanks in advance,
Wim Loos
--
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[LUTE] Re: Der ander theil
Miles do yoy have the original ?
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Original message
From: guy_and_liz Smith
Date: 2017-04-15 5:37 PM (GMT-05:00)
To: Lute List
Subject: [LUTE] Der ander theil
Does anyone know where I can get a facsimile of H. Neusidler's Der
Ander Theil des Lautenbuchs. I've got Miles Dempster's edited French
tab version, but I'd like to have the original for reference. I
could
have sworn I saw one on IMSLP relatively recently, and LSA has a
link
to a copy on Sarge Gerbode's site. However, when I went looking
today,
although I found Neusidler facsimiles on both sites, Der Ander Theil
was AWOL.
Thanks,
Guy
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[LUTE] Re: Loose bars?
Loose bar or bar no longer in contact with rib..have to open up to
check
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Original message
From: John Mardinly
Date: 2017-04-14 1:42 PM (GMT-05:00)
To: sterling price
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Loose bars?
My 45 year old Rubio lute had more than buzzing; it was rattling.
The
braces had come loose when I took it to New York to the shop of Tom
Hom
for adjusting the action. He kept it in his NYC shop that had no
humidifiers for 6 months. It also split the top. I could make it
rattle
by tapping with the back of my knuckles. The solution was to have
Mel
Wong remove the top and reglue the braces. This is major surgery!
Fortunately, Mel had sufficient skill to pull it off. Delaminating
braces in guitars is common enough that there are many videos on
youtube on how to fix them, but guitars yield access to the braces
through the sound hole (except for Antonio Torres second era guitars
with a tournavaz) and lutes do not.
A. John Mardinly, Ph.D., P.E.
Retired Principal Materials Nanoanalysis Engineer
On Apr 13, 2017, at 6:44 PM, sterling price
<[1]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
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References
1. mailto:spiffys84...@cs.dartmouth.edu
2.
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u_-7Ewbc_lute-2Dadmin_index.html=DwIFAg=AGbYxfJbXK67KfXyGqyv2Ejiz41
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[LUTE] Re: basses in octaves
Well that would mean I have to slant the frets to make the fundamental
sharper and in tune inthose positions ..which will render the octave
horribly sharp and the put the tasting below the octave string to lower
it...because it is in fact the loaded nylgut fundamental which goes
flat as you go up the neck...I would have never thought a string would
go flat in higher positions it is usually the opposite.
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Original message
From: Miles Dempster <miles.demps...@gmail.com>
Date: 2017-02-28 9:48 PM (GMT-05:00)
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: basses in octaves
Actually there is another solution to this. You'll probably all think
that I am crazy, but I'll suggest it anyway since it is used by some
guitar makers when crafting the nut, and might be applicable to lutes.
On my classical guitar (yes, I confess that I do actually play one
occasionally...) I find that the biggest tuning âproblem' is the 3rd
(thickest nylon) string. It's the one that tends to be a little sharp.
You get the instrument perfectly in tune for a C major chord only to
find that the G sharp of an E major chord is too sharp, and so on as
you go up the 3rd string.
I solved the problem by putting a small tastino about 1/8th inch in
front of the nut. In fact its a bit of a toothpick wedged under the
string. What is does is shorten the distance from the nut to the frets,
so that all the fretted notes will be flattened slightly (compared to
the other strings).
On a lute with double courses, you could do the same for the string
(whether it be the fundamental or the octave) which goes sharper that
the other.
Best
Miles
> On Feb 28, 2017, at 8:53 PM, fournierbru <fournier...@gmail.com>
wrote:
>
> Getting exact same tension between fundamental and octave is next
to
> impossible and ludicrous. Of course that wouldn't have been a
> possibility In the Renaissance and lutes must certainly have been
out
> of tune..but our modern ear wants otherwise. My strings are not
THAT
> much different in tension..the elasticity of the loaded nylgut is
the
> main culprit..my options are going back to wound on the courses in
> octaves that are on the fingerboard or go for unions and adjust the
> frets.
>
> BRUNO
>
> Sent from my Bell Samsung device over Canada's largest network.
>
> Original message
> From: Dan Winheld <dwinh...@lmi.net>
> Date: 2017-02-28 8:07 PM (GMT-05:00)
> To: Miles Dempster <miles.demps...@gmail.com>,
lute@cs.dartmouth.edu
> Subject: [LUTE] Re: basses in octaves
>
> On 2/28/2017 4:06 PM, Miles Dempster wrote:
> "Maybe it could help if the octave is closer in tension to the
> fundamental."
> Bingo!- Miles wins. It became a custom to string lutes with
absurdly
> slack octaves early in the lute re-Renaissance, as they were
> functionally useless; the overspun basses already being so overly
heavy
> on the harmonics. Until we started seriously playing with gut
basses we
> didn't even actually know the true purpose of the octave strings.
(I
> know I didn't!) We now know that the gut octaves must be the same
> tension as the fundamentals for the whole system to work sonically
&
> intonationally.
> But if those new ones really are going flat going up the neck,
yes
> that's a deal breaker on any fingered bass courses. I have not yet
> tried the new CD loadeds- it sure seems counter intuitive that the
> thick string would go flat as it frets up the fingerboard (if it is
not
> false!). Too flexible- very interesting- are we stringing to
loosely? I
> remember attempting to use thick, stiff, low twist harp strings
back in
> the 1970's for lute basses- what a disaster!
> Any other experiences from players using these? Not willing to pull
the
> trigger yet for 7 B-lute bass strings and 4 10 course lute bass
strings
> until this is sorted out.
> Dan
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
[LUTE] Re: basses in octaves
Getting exact same tension between fundamental and octave is next to
impossible and ludicrous. Of course that wouldn't have been a
possibility In the Renaissance and lutes must certainly have been out
of tune..but our modern ear wants otherwise. My strings are not THAT
much different in tension..the elasticity of the loaded nylgut is the
main culprit..my options are going back to wound on the courses in
octaves that are on the fingerboard or go for unions and adjust the
frets.
BRUNO
Sent from my Bell Samsung device over Canada's largest network.
Original message
From: Dan Winheld
Date: 2017-02-28 8:07 PM (GMT-05:00)
To: Miles Dempster , lute@cs.dartmouth.edu
Subject: [LUTE] Re: basses in octaves
On 2/28/2017 4:06 PM, Miles Dempster wrote:
"Maybe it could help if the octave is closer in tension to the
fundamental."
Bingo!- Miles wins. It became a custom to string lutes with absurdly
slack octaves early in the lute re-Renaissance, as they were
functionally useless; the overspun basses already being so overly heavy
on the harmonics. Until we started seriously playing with gut basses we
didn't even actually know the true purpose of the octave strings. (I
know I didn't!) We now know that the gut octaves must be the same
tension as the fundamentals for the whole system to work sonically &
intonationally.
But if those new ones really are going flat going up the neck, yes
that's a deal breaker on any fingered bass courses. I have not yet
tried the new CD loadeds- it sure seems counter intuitive that the
thick string would go flat as it frets up the fingerboard (if it is not
false!). Too flexible- very interesting- are we stringing to loosely? I
remember attempting to use thick, stiff, low twist harp strings back in
the 1970's for lute basses- what a disaster!
Any other experiences from players using these? Not willing to pull the
trigger yet for 7 B-lute bass strings and 4 10 course lute bass strings
until this is sorted out.
Dan
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vivaldi lute concerto
Hello all I would like your opinions on this interpretation of the Vivaldu lute concerto I found on YouTube. https://youtu.be/u9m3ghjN0RE BRUNO Sent from my Bell Samsung device over Canada's largest network. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Masterclasses
Hello Masterclasses should always be about technique or performance. Unfortunately some artists dont understand that. I remember one masterclass with a well known japanese lutenist back in university in 1980, who spent more time criticizing the instrument I owned at the time, rather than actually teaching... Needless to say i was rather upset, having very little money at the time and having had the instrument built for me the year before. Bruno Montreal, Canada EnvoyA(c) de ma tablette BlackBerryA(R) PlayBooka-c- www.blackberry.com __ De: sterling price spiffys84...@yahoo.com A: lute@cs.dartmouth.edu lute@cs.dartmouth.edu EnvoyA(c): 19 dA(c)cembre 2013 22:51 Objet: [LUTE] Masterclasses 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 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
