It seems I am back playing Baroque lute once again, after rather a long hiatus.
It’s been long enough that I have forgotten some of the points of conventional
wisdom concerning stringing. I’m playing an 11c lute currently strung with
silver-wound basses and Pyramid nylon mids and trebles.
Does anyone have a copy of S. Lungren’s Baroque Lute Companion that they no
longer need, or for whatever reason would be willing to part with?
David R
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Sep 5, 2009, at 10:39 PM, chriswi...@yahoo.com
chriswi...@yahoo.com wrote:
...The big issue that has yet to be adequately addressed is how
they solved the problem of transposition when using a temperament
system. If the semi-tones are not equal one just can't just
transpose without
I found this very interesting:
http://www.nme.com/awards/video/id/TmqhLIxNnp0/search/koopman
But I don't understand: with all the transposing going on between
465, and 415, what is the outcome pitched at? When TK says, put the
whole thing in Eb, and the thing is ready, my question is: Eb
On Sep 5, 2009, at 6:12 PM, howard posner wrote:
For anyone interested in the historical pitch question, let me again
recommend A History of Performing Pitch: The Story of 'A' by Bruce
Haynes,
Wasn't he the one who wrote The End Of Early Music? Good book.
which contains a wealth of detail,
. I assume Holbein was showing off his musical
knowledge, alongside the symbolism of broken strings.
So, uh...what is the symbolism of broken strings?
David Rastall
dlu...@verizon.net
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
from the early 17th century.
David Rastall
dlu...@verizon.net
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On May 8, 2009, at 1:24 PM, Mathias Rösel wrote:
Menuet - trio - menuet seems to be a galant-style thing.
Definitely 18th-century, though. Actually, I was mistaken when I
said early 17th century. I meant to say late 17th century. I'm
working on a suite in F Major by Lauffensteiner, and
On May 8, 2009, at 1:42 PM, howard posner wrote:
On May 8, 2009, at 9:24 AM, David Rastall wrote:
In the mid-Baroque (specifically Lauffensteiner), when you're playing
a minuet and trio, is it historically accurate to play them at
slightly different tempi, or is that strictly a Classsical
On May 8, 2009, at 4:06 PM, theoj89...@aol.com wrote:
I didn't even notice the broken strings...
Such paintings were so often packed with subtle symbolism -
Does anyone have an idea why the painter would go to the trouble of
painting a lute with broken strings - what meaning would that
On May 6, 2009, at 5:16 PM, David van Ooijen wrote:
Should read: do not use nylgut. Full stop.
Nylgut works pretty well on my 13-c for courses 3, 4 and 5, and
octaves w/copper-wound basses. 1st and 2nd courses in Pyramid nylon.
What's your string-material of choice? Gut?
David Rastall
dlu
On Apr 21, 2009, at 10:23 PM, Edward Martin wrote:
This is a good question. There is a great deal of historic
precedence for having a decorated peg box, and I see no reason to
hesitate. I have a relatively old baroque lute, built in 1984 by
Richard Berg, based on the Burkholtzer/Edlinger
On Jul 6, 2008, at 11:12 AM, Michael Gillespie wrote:
Does anyone have any comments on improvising trills and other accents?
You mean...(gasp)...actually putting in ornaments just anywhere, even
though they're not officially indicated in the tab? I don't know:
pretty risky business!
Just testing...
[EMAIL PROTECTED]
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Mar 2, 2008, at 9:36 PM, Stephen Arndt wrote:
For those of us who don't have (and who have never had) teachers,
this is a great way to learn.
Stephen's comment brings to mind something I have been thinking about
for some time: how many of us in the lute world can claim to have
On Nov 26, 2007, at 7:20 AM, Jerzy Zak wrote:
...for me more important is the way most people were accompanning
on the lute during XVII/XVIIIth centuries, during the time the d-m
tuning was an obvious choice for solos -- I'm thinking of continuo
songs and chamber music.
...Just
On Oct 5, 2007, at 5:55 PM, Edward Martin wrote:
It is not possible, if you would like to have a decent sound. If
you use a
0.30 nylon string (if you could find one that small!), it might
work, but
it would sound terrible!!
At 67 cm, the pitch for the treble string should be E, at
Dear Baroque luters,
Are any of you familiar with a book entitled The Weapons of
Rhetoric by Judy Tarling? I saw it advertised in Von Huene's Winter
catalogue, and I was wondering if any of you can recommend it.
David R
[EMAIL PROTECTED]
www.rastallmusic.com
--
To get on or off this
18 matches
Mail list logo
