The fellow I got it from Sterling Price claims if you rest your LF
there
you become possessed.
Michael Thames
Possessed by what. I don't mind if I'm possessed by the instrument, I'm
already that. And I'm possessed by my cat, as is anyone with a cat. But I'm
not sure if I'd want to play it
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
[EMAIL PROTECTED]:
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ, therefore no meantone.
By
1700 opera would modulate sufficiently to forget about
The fellow I got it from Sterling Price claims if you rest your LF
there you become possessed.
Possessed by what. I don't mind if I'm possessed by the instrument, I'm
already that. And I'm possessed by my cat, as is anyone with a cat. But I'm
not sure if I'd want to play it were the
Somehow in the raucous banter on the thread my original question got lost,
except for Tony as quoted below.
As Jon said, the modern choice of the harder material for the disposable
bit
does seem odd. It also seems odd that the efforts made at the time being
directed towards lightness in the
Dear Joseph,
Most of the wear marks on old lutes are behind the bridge
Martin
Joseph Mayes wrote:
The (I think ) majority of contemporary lute players do some sort of
pinky-resting with the right hand. They point to lots of iconographic
evidence to support this practice.
When one buys
A number of replies on this thread, and I thank you gentlemen. I'll try to
come back to all in this one message.
Yup, it is prunus - I goofed. And I used the plural genera instead of
genus. I still don't remember the classifications of taxonomy, but when
one comes to wood one needs only genus and
The fellow I got it from Sterling Price claims if you rest your LF
there
you become possessed.
Michael Thames
Possessed by what. I don't mind if I'm possessed by the instrument, I'm
already that. And I'm possessed by my cat, as is anyone with a cat.
So this is not limited to Rainer
Dear Joseph,
Most of the wear marks on old lutes are behind the bridge
Martin
What about ren lutes?
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Friday, March 11, 2005 2:51 AM
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ, therefore no meantone.
By
1700 opera would modulate sufficiently to forget about meantone.
From the semitone entry in the New Grove, copied from
Thanks for all your replies concerning bone pegs. As Jon pointed out, most
cow bone is probably too small for pegs. It seems that on 19th century
guitars the decoration is whale bone including the long purfling strips.
there must have been a huge, well organized industry to supply the French
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ, therefore no meantone.
By
1700 opera would modulate sufficiently to forget about meantone.
From the semitone entry in the New Grove, copied from
Thanks for all your replies concerning bone pegs. As Jon pointed out, most
cow bone is probably too small for pegs. It seems that on 19th century
guitars the decoration is whale bone including the long purfling strips.
there must have been a huge, well organized industry to supply the French
Jon,
In addition to reducing the mechanical moment (I haven't used that
phrase since high school physics class), the angled peg head makes it
easier for the peg head to bear the tension of the strings. If the
peg head was straight out, as in a guitar, there would be tremendous
pull from the
Michael,
Well, that's an efficient use of the bones! Three hits: soup, dogs,
nuts. You're literally taking them from soup to nuts.
Tim
Original Message
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu, [EMAIL PROTECTED]
Subject: Re: Pegs -bone, CAVEAT
Date: Fri, 11 Mar 2005
Some of the sources thought previously to have been for 4-course guitar
are
actually for the mandora - amongst them the pieces for a 4-course
instrument
in Barberiis' Opera intitulata contino of 1549, and in Conserto vago di
balletti printed in 1645 which includes music for lute, theorbo and
Dear Michael,
That's the really interesting bit - the lute I first thought of is the
1592 Venere in Bologna, a 7c lute with 58.5cm string length (and a
double top course). The wear may date from a later time, of course.
In the 17th C there are warnings about not putting your little finger
This is the major problem with using ebony for pegs. Ebony is very gritty
wood and actually acts like little rat tailed file in making the peg box
holes larger. It is my understanding that the original Lutes were pegged
with pegs made of fruit wood of sorts stained black to look like Ebony.
The majority of music was simply out of tune most
of the time, and badly played too.
Which, by the way, is still true 8^))
Francesco
Yep, 'fraid so. Le Dame Stuzzicanti come to mind..
RT
--
http://polyhymnion.org/torban
To get on or off this list see list
Hi All,
A few moments ago, I consulted the web page Shar Music operates.
They're probably the major catalog purveyor of stuff for bowed
stringed instruments. You'll find their site at www.sharmusic.com.
It offers some interesting reading.
Regarding humidity, if the relative humidity
know they actually exist. Is there evidence from 17th century
sourcesabout their use?
There are English lute songs (ms sources) with tablatures for d'-lute.
David
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear friends and colleagues,
Our Lutenet's resident vocalist Jessica Gould has permitted herself
inexcusable modesty and omitted herself from the announcement I forwarded
previously. So it should have read like this:
.
Saturday, March 12
8:00PM
The New York Early Music
Hi Peg People -
I would like to point out that this talk of building pegs
would be more appropriate to the lute-builder mail list.
There are other builders there, and you would lighten the
bandwidth on the lute players list.
to subscripe send a subscribe message to
[EMAIL PROTECTED]
Dear lute friends,
I've just received my copy of Naxos Weiss vol.6.
There was apparently a mix-up somewhere along the line and track 10, a C =
minor Sarabande, is repeated as track 16, which should be a Bb major =
Sarabande.
Although some people might not be disturbed, as the C minor Sarabande
Ed,
I think there's a dot somewhere on the card, maybe upper right or upper left,
possibly about 12mm in diameter and you use the Mark I eyeball to compare the
color of the dot with the scale of colors and relative humidity along the left
hand side of the card. Don't have one in front of me,
--On Monday, March 07, 2005 9:52 PM -0500 Jon Murphy wrote:
My complaint with the specifics (call it the HIP if you want) is that it
denigrates those old musicians whom we so worship. It suggests that they
wouldn't have liked to experiment with their own sound, and ensemble.
As I view the
Stephan,
If I might interject a practical performance note: whilst some of the solo
repertoire may well benefit from a form of meantone temperament (although as
Roman points out this is very much a moot point by the mid 18thC), continuo
playing in works such as later operas requires ranging
Really?
I just know about Kapsberger advocating that position.
Other tutors mention it as a position on should avoid (for example Reusner)
This of course somehow tells us that the position behind the bridge must have
been quite common.
Thomas
Am Freitag, 11. März 2005 15:38 schrieb Martin
A minor clarification: Prunus is the generic name of cherries and plums,
e.g., Prunus serotina (the only North American species of importance as a
timber producer) is the wild black cherry, Prunus being the genus and
serotina the specific epithet. I believe a number of European Prunus spp.
From: Robert Barto [EMAIL PROTECTED]
Date: Fri, 11 Mar 2005 16:46:32 +0100
To: lute@cs.dartmouth.edu
Cc: baroque-lute@cs.dartmouth.edu, [EMAIL PROTECTED]
Subject: Mistake on Weiss Naxos vol. 6
Dear lute friends,
I've just received my copy of Naxos Weiss vol.6.
There was apparently
From: Roman Turovsky [EMAIL PROTECTED]
Date: Tue, 08 Mar 2005 12:38:53 -0500
To: LUTE-LIST lute@cs.dartmouth.edu
Subject: OT: Mar'jana Sadovska in NYC
For those Lute-Netters in the NYC and the vicinity:
Mar'jana Sadovska
http://www.mo-productions.com/eng/marframe.html
will sing tomorrow
Dear all,
this came back with a strange formating, so I send it again. My apologies!
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
[EMAIL PROTECTED]:
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ,
Most of the wear marks on old lutes are behind the bridge
Which goes very well together with a lower string tension then we are used
to today.
David
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Most of the wear marks on old lutes are behind the bridge
Which goes very well together with a lower string tension then we are used
to today.
David
It seems if the tension got any less, all you would hear are the sound of
clashing courses!
Michael Thames
www.ThamesClassicalGuitars.com
That's the really interesting bit - the lute I first thought of is the
1592 Venere in Bologna, a 7c lute with 58.5cm string length (and a
double top course). The wear may date from a later time, of course
In a recent master class given By Paul O'Dette he was playing an 8 course
lute, I assume
Martin Shepherd mailto:[EMAIL PROTECTED] schrieb:
Hi everyone,
Mimmo Peruffo has kindly sent some pictures for us - interesting, huh?
Martin
yep. How can I seen 'em?
--
Viele Grüße
Mathias
--
To get on or off this list see list information at
Ooops, sorry I forgot the list doesn't do attachments. If anyone is
interested, I can email the pictures privately.
Martin
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
From: Roman Turovsky [EMAIL PROTECTED]
Date: Fri, 11 Mar 2005 14:13:14 -0500
To: LUTE-LIST lute@cs.dartmouth.edu
Subject: Re: OT: Mar'jana Sadovska in NYC
I assume you went (lucky devil), and she was great, yes?
In fact. Hairraisingly so.
now I really _am_ jealous -- goose-bumps are
On Fri, 11 Mar 2005, Roman Turovsky wrote:
So, to drive the point as far as humanly possible:
Meantone is painting-by-numbers, while ET permits one to say something
meaningful and original, musically speaking.
It is really confusing to find a militant or fundamantalistic
fighter for equal
I forgot to mention that Baron names Meussel as one of the outstanding
composers of his time. The piece in this collection really is good.
Thomas
Am Samstag, 12. März 2005 00:18 schrieb Thomas Schall:
Hi Michael,
I have this edition, too. It contains some nice pieces.
We played the Meussel
I also own vol. 2, 3, 4, 5, and I can't wait for 6. Mr. Barto, you
are an excellent musician. I hope someday that I can play Weis on my
own. I wasn't sure how much I would enjoy baroque lute until I picked
up your recordings.
Cheers
simul incipit ipse,
Jon,
In addition to reducing the mechanical moment (I haven't used that
phrase since high school physics class), the angled peg head makes it
easier for the peg head to bear the tension of the strings. If the
peg head was straight out, as in a guitar, there would be tremendous
pull from the
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