Read Lindley's book on lute temperaments if you don't believe me.
MH
--- On Fri, 6/1/12, howard posner howardpos...@ca.rr.com wrote:
From: howard posner howardpos...@ca.rr.com
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute
howardpos...@ca.rr.com
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu
Date: Friday, 6 January, 2012, 16:38
On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
Equal temperament
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu
Date: Friday, 6 January, 2012, 20:48
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
Although Denis does not recommend openly a sort of equal
I think V. Galilei says something also of this (p. 167 in Carol
MacClintock's translation):
[...] I can raise or lower the sound produced by the Mezzana struck at the
fourth fret as I please, and likewise that of the Tenore struck at the
first, and third, and any fret without altering any of the
On Jan 7, 2012, at 2:09 AM, Martyn Hodgson wrote:
Incorrect again Howard - he does not say those who use tastini are
'prominent' players as you do (from where do you get this), but that
they are foolish.
You must have missed Jean-Marie's post yesterday, quoting Galilei's Fronimo:
Ever heard of IRONY?
RT
- Original Message -
From: howard posner howardpos...@ca.rr.com
To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu
Sent: Saturday, January 07, 2012 11:57 AM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
On Jan 7, 2012
On Jan 7, 2012, at 2:03 AM, Martyn Hodgson wrote:
Read Lindley's book on lute temperaments if you don't believe me.
I have read it, and it's a major reason I don't believe you.
Lindley ignores or dismisses nearly all the evidence that contradicts his
thesis, often comically. My personal
So it seems to be easy to affect to the pitch by the finger pressure,
testimoned by our great Vincenco G. himself: Do not believe that such
_tastatura_ is difficult to make or to be put to use, but consider it to be
easy,
Here I strongly agree with VG! ;-)
Arto
On Sat, 7 Jan 2012 08:05:53
Hi Arto,
Well the temperament problem is the same for baroque and renaissance
lute, with the 2nd to 4th courses being the same tuning and in the Dm
tuning the 1st being the same as the 4th! So G major works well,
because you can have the 1st, 4th and 6th frets in the low position
(nearer
of the time, if the
makers simply glued on wooden frets?? trj
-Original Message-
From: Martin Shepherd mar...@luteshop.co.uk
To: baroque-lute baroque-lute@cs.dartmouth.edu
Sent: Thu, Jan 5, 2012 11:07 pm
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
Hi
becoming annoyed with mean-tone
by mid 17th century (such as Frescobaldi).
RT
- Original Message -
From: theoj89...@aol.com
To: baroque-lute@cs.dartmouth.edu
Sent: Friday, January 06, 2012 9:08 AM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
Out
On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
Equal temperament was used on lutes from the 16th century onwards
Except by Gerle (1532)
And the Dowlands (1610)
And Ganassi (1543)
And Mersenne (1636)
And anyone who read their books and followed their instructions
And anyone who played with
Dar Howard and all,
I am sorry I must disagree with the Mersenne bit below. Mersenne insists that
the best way to play in tune with fretted instruments in particular, is to use
some sort of equal temperament. Just one example, from his Livre Troisième des
Genres de la Musique, Proposition XII
On Jan 6, 2012, at 9:51 AM, Jean-Marie Poirier wrote:
Mersenne insists that the best way to play in tune with fretted instruments
in particular, is to use some sort of equal temperament.
And yet the fret placement he gives in Harmonie Universelle is decidedly
unequal.
--
To get on or off
wrote:
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: howard posner howardpos...@ca.rr.com, Baroque lute Dmth
baroque-lute@cs.dartmouth.edu
Date: Friday, January 6, 2012, 12:51 PM
wrote:
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: howard posner howardpos...@ca.rr.com, Baroque lute Dmth
baroque-lute@cs.dartmouth.edu
Date: Friday, January 6, 2012, 12:51 PM
Dar
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
Although Denis does not recommend openly a sort of equal temperament, he
acknowledges the fact that fretted instruments are not naturally and
technically apt for unequal temperaments. I think his ivory frets, which
could be adjusted
Isn't that evocative of the Well-tempered keyboard...
JM
There is another important passage in the Jean Denis's text, well woth
quoting. I will try a translation :
After hearing a harpsichord tuned in equal temperament Denis asks why they use
this temperament which he judges bad :
Being in
Prominent???
RT
From: howard posner howardpos...@ca.rr.com
Sent: Friday, January 06, 2012 3:48 PM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
Although Denis does not recommend openly a sort of equal
Correct, Howard, my mistake. But nonetheless this technique, which was probably
not very popular though... Here is the passage about tastini taken on Arto
Wikla's site, thank you Arto ! :
Eumatius [the student]: ... Also, how does it happen that you do not use frets
that are spaced by unusual
David, I made amends for that mistake of mine ! ;-(
There is another quotation from Mersenne I like very much :
According to the common saying of musicians, the lute is the charlatan of
music, because it passes off as good that whichis bad on good instruments...
(Translated by Mark Lindley ,
On 6 January 2012 22:45, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
I like the isea of playing a charlatan of music :-). Don't you ?
So true. And at the same time we can suggest such unwordly beauty with
our imperfect instruments. Suggestion is the key word here. Perhaps
also in our
Well, my original mail on this subject referred - among other things -
about the possibility of correcting the tuning on higher frets easier than
on the first fret: the first fret bb and f# are hard to tune by left hand
pressure - that problem becomes much easier on higher frets. Perhaps this
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