Dear Ones,
I am wondering if anyone out there has an English translation of the
last page of Mouton's Pieces de Luth; in the Minkoff edition, it
appears on page XXIV, and is 3 small paragraphs. It begins with Jay
mis... and ends with aujour.
Thanks in advance,
ed
Edward Martin
Collected Wisdom, is there any evidence for use of the capo on lutes
or guitars (or other things) prior to the 19th century, please?
Stephen
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Eighteenth century 'English' guittars had this sort of thing as did, I
believe, some similar French instruments from this period. Wire strung
of course.
MH
__
From: Stephen Kenyon s...@jacaranda-music.com
To:
As far Ias I know the only document is by Theorist Gio. Battista Doni in his
Annotazioni sopra il compendio de' generi de' Modi della Musica,( Roma 1640)
but it is not related to the lute.
just 2 pages before the Discorso Quinto on the violino Diarmonico and the
Tiorba a tre manichi
There is a passage in Bermudo which seems to refer to the use of some sort
of device to raise the strings of the vihuela a semitone or a tone. It is
in Book 2, Chapter 36 f.30. It is referred to as a panezuelo which
literally seems to mean a handkerchief but there is some doubt as to
Monica, Stephen, et al-
I also remember the English (tenative?) translation of the Bermudo
panezuelo- seems like it would have to be some sort of
movable/removable nut, stopping the strings from below as opposed to our
modern capos; which presumably would not have worked too well without
Yes - now I recall that someone called Frederick Cook wrote quite a few
articles about the vihuela in the 1970s including one The capo tasto of the
vihuela. His suggestion was that the panezuela was some kind of wooden
device. He says the word is derived from the verb panear which means to
Monica:
Interesting; but wouldn't that throw off the fretting (i.e., the frets
would be placed for the wrong overall length of the string)? It would
sound awful up the neck, unless you began moving all of the frets around
. . .
Gary
Dr. Gary R. Boye
Professor and Music Librarian
On Wed, 25 Sep 2013 16:13:28 -0400, Gary R. Boye wrote
Monica:
Interesting; but wouldn't that throw off the fretting (i.e., the
frets would be placed for the wrong overall length of the string)?
I was this myself.
It would sound awful up the neck, unless you began moving all of the
Well - I read it years ago and just re-read it! I have never tried it out.
This is what he says...
It is a small piece of wood running alongside the bridge and placed under
the strings which was used by vihuelistas as a subsidiary bridge. It must
have been set very near the permanent bridge
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to avoid
open strings as much as possible.
The same is true of gamba players, who avoid open strings because of
their different tone.
Geoff
--
Geoff Gaherty
Foxmead Observatory
Coldwater,
On 25 September 2013 23:43, Geoff Gaherty [1]ge...@gaherty.ca wrote:
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to
avoid
open strings as much as possible.
Joe Pass in one of his video lessons gives the advice to
On Wed, 25 Sep 2013 22:25:45 +0100, Monica Hall wrote
Well - I read it years ago and just re-read it! I have never tried
it out. This is what he says...
It is a small piece of wood running
alongside the bridge and placed under the strings which was used by
vihuelistas as a subsidiary
On Wed, 25 Sep 2013 17:43:10 -0400, Geoff Gaherty wrote
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to avoid
open strings as much as possible.
The same is true of gamba players, who avoid open strings because of
their different tone.
On Wed, 25 Sep 2013 23:50:01 +0200, David van Ooijen wrote
On 25 September 2013 23:43, Geoff Gaherty [1]ge...@gaherty.ca wrote:
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to
avoid
open strings as much as possible.
On 25/09/13 7:20 PM, R. Mattes wrote:
Yes, I always try to avid open bass strings ... esp. on theorbo.
Sorry, couldn't resist;-)
That's the difference between a bowed string and a plucked string. We
do everything we can to sustain our plucked notes!
Geoff
--
Geoff Gaherty
Foxmead
Oh yes, Joe Pass hitting an open string would instantly have the whole
crowd snoring. And don't ask what would happen if Django or Jimi Hendrix
did such a crazy stunt!
Dan
On 9/25/2013 2:50 PM, David van Ooijen wrote:
On 25 September 2013 23:43, Geoff Gaherty [1]ge...@gaherty.ca wrote:
On Wed, 25 Sep 2013 19:54:38 -0400, Geoff Gaherty wrote
On 25/09/13 7:20 PM, R. Mattes wrote:
Yes, I always try to avid open bass strings ... esp. on theorbo.
Sorry, couldn't resist;-)
That's the difference between a bowed string and a plucked string.
Well, that was partly my question:
Another good point- the only lute for which I built my own capo (pain in
the butt piece of fussy work) was a 72 cm SL Division bass lute that
worked very well as an E lute (a-415 or 440) with a generous 10 fret
neck, and narrow-ish sloping shoulders at the neck-body joint. But, in
order to
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