Hi Alain:
I did not mean to imply that you were forgetting about us Nyloners. To tell
you the truth I don't know if Nylgut is more expensive than plain Nylon but
I would be surprised if it was not. When I buy strings I usually by them in
sets and usually five at a time. For the most part my
Hi Tim:
Welcome to the quasi-wonderful world of anachronism of anachronisms. When I
played classical guitar I changed strings frequently because they became
false. Since taking up the Lute I do not change strings anywhere as often.
If I can get a set of strings to survive one year I consider
Hi gang,
I'm playing some golden age and Milano at the moment, and suddenly
realize, that (for me) much of the music actually gains in stature by not
being played too fast (cf. La compagna). Of course a piece like f. ex.
Dlugoraj's Finale is meant to be played fast, but have others had similar
Dear Goran:
I don't know whether the composers of the music played their stuff faster or
slower than we tend to play it today, I really don't know if there is anyway
to find that out. I tend to think that much of this material is played too
fast just because it shows such virtuosity to do so,
i don't play anywhere near the amount of material that most of you play
or have access to, but for the little i do play i've found that slower
is better. a question of individual taste i suppose but stately play
without forcing the volume sounds right.
also, playing with a stiffish plectrum
i've just been given a tuning for my charango that makes it possible to
play music written for the mandola (g-b-e-a-d.) it's also a banjo
tuning, i note.
it's wonderful.
at what point, however, does my charango stop being that and become a
mandola or a banjo? if i were to use a renaissance
Dan,
I've not made any myself and it sounds like an adventure. However, the technique of
applying the stain with heat and the really nice brown color sounds like something I
used on a cornamuse kit I built some 20 years ago.
My memory is a bit dim on this one, but the stain was dark, dark
