I believe we can go back as far as Edgar Hunt and
an early edition of Variety of lute lessons for
the (1958) true rather than thou but I haven't
looked at it since 1971 when I purchased it in
Patelson's in NY and my memory is not airtight.
If I lent it to someone, please return it BTW. It's
Hi Sam,
These are interesting questions. At the recent Lute Society weekend Ian
Harwood managed to assemble a consort at the high pitch - a minor third
above modern pitch. I played my A lute tuned up a semitone, strung all
in gut except for the top string which was nylgut. For a gut string
-Original Message-
From: Sam Chapman [mailto:[EMAIL PROTECTED]
Sent: Saturday, October 04, 2008 12:40 AM
To: Andrew Gibbs
Cc: Lute List
Subject: [LUTE] Re: Temperament wondering...
In any tempered fretting system that's been worked out properly you
need to first set the frets, then tune
You're right, Rainer - but just in case there's any misunderstanding:
In a meantone temperament you don't expect all the apparent octaves to
be pure, for example the Gb on the first fret (high position) of the 4th
course with the F# on the fourth fret (low position) of the 2nd course -
this
For Info
New Publication by the UK Lute Society
Gilbert Isbin, 10 Compositions for Solo Lute
10 new pieces in an accessible contemporary style for six course lute,
calling for intermediate to advanced technique.
ISBN 978 0 905655 68 0
Dear Martin,
What is the early evidence from England that 'treble' lutes were generally
considered such very small lutes (ie c 48/50cm string stop). Are they not
nowadays more generally thought as being simply lutes a tone (or so) above the
ordinary common or 'mean' lute as, for example,
Just so Martin. The principal problem with meantone on fretted instruments has
often been raised before but it's always as well to repeat it for those new to
the issue:
If the diatonic and chromatic sequence between frets as one ascends the
fingerboard were the same on each string then
Puzzling, indeed ! I really look forward to the publication of Ian Harwood's
book on the subject. Last time I went over to Norwich, in June this year, David
van Edwards told me the book was well under way. I contacted Ian by email after
that and he told me the same thing, but also that he had
You're right - it's not a circular process if the fretting system has
been worked out properly. As I said, I've been using David van
Ooijen's instructions for tuning in 1/6 comma and it's a straight-
forward process.
But I was referring to the historical instructions found on the LSA
Fret
I posted this right after the question was asked, and now see it only
went to Dennis, so here it is again, apologies for the repeat, Dennis,
and the delay, everyone else.
I've seen equally compelling arguments for Doeland, Dowland and
Dooland. Considering his heritage and whom he worked for, and
Hi Martin,
Which pieces did you play? Were they from the Morley publication, the
Holmes manuscripts, or something else? Did you use flute or recorder?
It wasn't quite clear from your Email if the flute/recorder played at
the written pitch or an octave higher (I assume it was the former if
you
Dear Sam,
I'm copying Ian into this because apart from the fact that most of the
pieces we played were from the Holmes MSS, I can't remember the details
of what the flute parts do.
Can you enlighten us, Ian?
Best wishes,
Martin
Sam Chapman wrote:
Hi Martin,
Which pieces did you play?
Dear Martyn,
Thanks for your interesting ideas. From what you wrote then, there
seems to be some justifiaction for performing the consort music at
A-440hz (treating the A lute as an instrument in G). Most of the
traverso players I know possess and play instruments only in 415hz or
440hz, so this
Ah...I see what you mean Andrew!
In reply to Rainer, Martin and Martyn: perhaps I'm being incredibly
naive, but I've always managed to tune octaves and unisons on my
theorbo with no beating, whether or not I set the frets equal or to
some variety of meantone. Of course I don't count, for example,
On Oct 3, 2008, at 1:21 AM, David Tayler wrote:
Having said that, England was famous for its eye rhymes
You mean all over the Continent in 1600, poets were saying You've
got to go to England and try the eye rhymes?
Or do you mean that modern readers/listeners are struck by the number
of
Dear Jean-Marie,
A couple of weeks ago, I had the pleasure of reading through Chapter 13
on the Holmes manuscripts. It is extremely interesting, with lots of new
information, and mistakes by others in the past corrected. There are
still a few more chapters to go. Ian is very thorough, so progress
I see- eye rhymes don't.
They got into a row when they went for a row;
When he shot his bow from the bow.
How now brown crow.
I think most of those eye rhymes were real, as in the love-prove-
move example I mentioned earlier. Those rhymes show up so often that
it would be downright weird if
Well, didn't Gerle provide just that?
wondering,
Arne.
- Original Message -
From: [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu Net lute@cs.dartmouth.edu
Sent: Saturday, October 04, 2008 8:33 PM
Subject: [LUTE] Lout?!? (was Lute sound/split sound)
On Fri, Oct 3, 2008, [EMAIL
Dear List
I now have on my web page a study of Bartolotti similar to the one I
have done on Foscarini. You will find this at
[1]www.monicahall.co.uk
It includes an English translation of the prefaces to both his books
with comments on how these relate to the way that the
Dear Stewart,
Thank you very much for this update of my information about Ian's book. I look
forward to reading it with still more impatience after reading you !
Best wishes,
Jean-Marie
=== 04-10-2008 19:45:30 ===
Dear Jean-Marie,
A couple of weeks ago, I had the pleasure of
Dear Monica,
A hearty thank you for putting all this fascinating stuff online. Don't worry,
some will enjoy it, I already do !
Thanks for sharing all this tremendous amount of work.
All the best,
Jean-Marie
=== 04-10-2008 21:56:27 ===
Dear List
I now have on my web page a
Does anyone know where the oldest surviving lute is? - and how old it is?
Joshua
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Joshua:
Answers to questions like that may be found by checking the
Lautenweltadressbuch on the LSA website. (It is one of the Lute
Projects.)
Searching in the year field, typing in '150' brings up three
instruments that apparently may have been made before 1510. Two are in a
private
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