Very interesting. Spent some time drooling over the flickrpics you so
kindly provided. Magnificent- beautiful, perfectly proportioned; string
spacing doesn't appear unnaturally wide. 65 cm SL is a perfect length
(to my predilection vis-a-vis hands, body size, pitch) the apparent
distances all
Dear Bruno,
I own a guitar made by Mario Gropp and a vihuela by Alexander Batov and
am very happy with both instruments. I also had a Liuto Forte for
several years, which I unfortunately had to sell for financial reasons.
I miss that beautiful instrument a lot.
First of all, it
Please forgive the unfogivable grammar chaos in some of my sentences in
my earlier mail - I really should always check spelling and grammer
before sending...
F
---
Dr. Franz Mechsner
Zum Kirschberg 40
D-14806 Belzig OT Borne
franz.mechs...@gmx.de
That's a beautiful lute.
In contrast I have a 59cm 7c Venere replica (also shaded yew) with very
close string spacing at the nut - as the original lute has. When I was
younger this suited me nicely, but as I age my fingers have thickened
and it needs very great care to play chords
Dear Arthur, dear Jean-Marie,
Thank you very much ! May research continue.
Mathias
From: Arthur Ness [mailto:arthurjn...@verizon.net]
Sent: Thursday, August 22, 2013 5:07 PM
To: Jean-Marie Poirier; Mathias Roesel; 'Lute List'; 'Baroque Lute
List'
Subject: Re:
On 22/08/13 6:01 PM, David Tayler wrote:
Specifically, I wanted something for both
playing and recording that reveals the maximum separation in the
individual polyphonic parts, with tone and transparency.
I had the spacing at both nut and bridge widened on my g' lute some
years ago, on
Franz;
Very well reasoned eloquently written response- you have made me quite
curious to see try one of these things out. I have an instrument of
my own that fits no historical classification but provides an
alternative tone color; a seven string steel-string guitar acquired
cheaply on a
I have developed something I call the Weiss Guitar. It's a guitar with 13 or 14
strings tuned like a baroque lute or even a g archlute. It works quite well.
There are a few other people making these multi-string guitars but they cost
even more than lutes.
Sterling
Sent from my iPhone
On Aug
It's an interesting trend and I don't know what to make of it, Dan.
A few years ago I went to a concert of a well-known poster on this
list and the Francesco pieces were played on an 8-c lute and the
Dowland on a single strung archlute. It could easily be argued this
was standard practice
Dear Ones,
When speaking of polyphony on a steel string guitar, please see this link:
http://magnatune.com/artists/albums/berget-sienasteel/
A duet partner of mine, Paul Berget, recorded this years ago. He
recorded selections of the Siena in 2 recordings, one on lute, one on
steel string
I suspect that most of us play on instruments that are 'fake' in one
way or another - be it the strings, or the use of single strings when
evidence suggest that double stringing was more common at the time.
Then again the techniques we use are often at odds with the evidence.
This
I understand that, Bill: It's hard to keep a stable of correct
instruments for any given time and it's also up to the player to
choose his sound and presentation. Furthermore, who am I to judge?
But there is this underlying drumbeat of future instrument creep
that I find confusing. It's
Mostly, it's just a question of practicality. There are only so many
instruments you can afford to own and keep strung, only so many you can bring
to a concert and keep in tune and find a place to stash around the stage when
you're not playing them, only so many you can fly with, and only so
This little piece, written or set by C.F.A. Pollet in the 1770s, is for
the French version of the 'English guitar', the cistre ou guitarre
allemande:
http://www.youtube.com/watch?v=bhsNC1zTx5c
Stuart
To get on or off this list see list information at
Again, the practicality is understood. What I should also mention is
that it influences the concert choice of music:
I have an 8c. To make best use of it I will play a concert that spans
a 100 years. ...because I can. vs I have a 6c. I will play a concert
that might have happened out of
Two things to keep in mind:
1. I don't really think there's a future-instrument creep going on. Many of
us have been lutophiles long enough to remember when we didn't know enough to
raise most of the questions you bring up. Players are certainly more conscious
of the variety of historical
Very nice Stuart.
Monica
- Original Message -
From: WALSH STUART s.wa...@ntlworld.com
To: lutelist Net Lute@cs.dartmouth.edu
Sent: Friday, August 23, 2013 9:06 PM
Subject: [LUTE] A tambourin from the 1770s for 'cistre ou guitare allemande'
This little piece, written or set by C.F.A.
I see. I try to design my own concerts so I have a say over my choices.
Personally, I see it as a life-long graduate course worth, no doubt in
the end, a whole of [SFX: Dylan wheeze into harmonica]. I guess we all
try to get something different out of our playing.
Of course I have
Sterling-
Didn't I see one of your original prototypes for this at Cleveland, back
around 2006? The poor man's instant 13 course solution! I remember you
had a conversion kit, or plans for such, as well.
One can of course buy just about any configuration desired for what one
very fine
My first lute had string spacings which, I presume, were intended for
thumb-out playing: rather close between courses. When I decided to learn
thumb-in, this was a serious draw-back. My luting went into hiatus until
I could afford a new instrument built with wider spacing for thumb-out.
It's
Hi--yes that was 2004 in Cleveland. I didn't have plans or a kit but I
would modify existing guitars. I started building them again this year.
They actually work quite well.
Sterling
__
From: Dan Winheld
It's not that hard to change the spacing on an existing lute. There is
no reason anyone should be playing a lute that doesn't fit right.
--Sterling
__
From: Leonard Williams arc...@verizon.net
To: lute
It's interesting that these two discussions should be going on
simultaneously, since both could be regarded as fake lutes: they
deviate from historical authenticity. As Pat O'Brien tells it,
people's hands, like their bodies, were smaller in the 16th and 17th
centuries, so were more able to
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