David
There does not seem to be much audible difference, but through my
computer, although I have attached my JBL on Tour speakers (not hifi,
of course). I hear no rumble, but that is harldy surprising.
Anthony
Le 3 sept. 07 à 22:30, LGS-Europe a écrit :
Inspired by seeing POD in Antwerp
The message from Kenneth Sparr (below) about the mystery lady with
the Copenhagen Jauch lute, brought to mind two mystery lutes that I
had read about in a book on the history of Brownsea Island.
I used to live in Poole, UK, near this island, and I seem to recall
reading that two lutes
I just wondered whether there were any web accessible photos of the
actual Warwick Frei. Of course, I can access numerous copies, but I
would like to see a photo of the original.
Regards
Anthony
To get on or off this list see list information at
There are also the aluminium cases by
Pierre Rousseau 145, rue de Belleville 75019 Paris (France)
Tel/fax : +33 (0)1 42 45 68 74 E-mail: [EMAIL PROTECTED]
http://valipier.club.fr/index.html
They would certainly be water-proof, as they are covered in metal.
The structure is made of aviation
and then nylgut basses with
octaves. Actually, I like carbon for many reasons but unfortunately
the strings are very thin because of their high density which leads
to less presence than nylgut.
Best wishes.
2007/8/15, Anthony Hind [EMAIL PROTECTED]:
Dear Bruno
Martin Shepherd
- a consideration
which affects all aspects of playing polyphony on the lute - but
that's
another story
Best wishes,
Martin
Anthony Hind wrote:
Glad to see you are back, Martin (perhaps you weren't away).
The Purr'll strings are strong, but how do they sound?
Regards
Anthony
Bernd
Funny, my friend was playing in Britanny (on the Norther coast
côte rose) and you can't get much more humid than that, especially
this year. When I go there my hygrometer registers well above 60.
The strings have lasted him the summer vacation. He was worrying more
about the
Anthony
Le 26 août 07 à 16:06, howard posner a écrit :
On Aug 26, 2007, at 3:35 AM, Anthony Hind wrote:
Initially, he was slightly disappointed, thinking his strokes were
less powerful, but gradually he realized the racket absorbs the
vibrations from the attacking ball far better. He reports
PROTECTED]
To: Edward Martin [EMAIL PROTECTED]; Martin Shepherd
[EMAIL PROTECTED]; LGS-Europe [EMAIL PROTECTED]; ariel
[EMAIL PROTECTED]; lute@cs.dartmouth.edu; Anthony Hind
[EMAIL PROTECTED]
Sent: Sunday, August 26, 2007 7:44 AM
Subject: [LUTE] Re: [LUTE] Rép : [LUTE] Re: Gut strings - Tennis-Lute
Well if you do insist on playing tennis with your theorbo, gut strung
or otherwise
Le 26 août 07 à 19:57, howard posner a écrit :
On Aug 26, 2007, at 8:54 AM, Anthony Hind wrote:
You may be right, about the speed (except pehaps the greater
movement back gives greater power forward, I
Stephen
I can answer the second question [EMAIL PROTECTED]
I think you need th pay by bank draft; but I don(t know about the file.
How do you find those KF strings (I lmean how good are they)? What
courses did you use them on? How do they compare with the gut sound,
nylgut, or carbon?
David
Could you explain exactly what you do. filng this every day, does
this not gradually widen the groove?
I have always just used a graphite pencil.
Best regards
Anthony
Le 26 août 07 à 22:07, David Tayler a écrit :
In the US you can get a set of ten diamond coated hobby files for
Oh you mean that one. So that was what was going wrong with my
playing, and only now you tell me
Anthony
Le 26 août 07 à 22:14, David Tayler a écrit :
When I refer to dressing the nut every morning, I
am referring to the one in the mirror.
Regards,
dt
At 01:11 PM 8/26/2007, you
Renaissance lute between gut and Nylgut, I honestly can't tell much
difference between them at all on my baroque lute. The tonality of
the first course in Nylgut and the second in gut is pretty much
identical.
Thanks again your help,
Stephen
- Original Message - From: Anthony Hind
the weather), but he often has wise words on gut strings.
As he strings his lutes for his clients, and also teaches, he
probably comes into contact with more string situations than many of us.
Best regards
Anthony
MH
Anthony Hind [EMAIL PROTECTED] wrote:
Mimmo
You are right to say that few
(perhaps
esacaping the weather), but he often has wise words on gut strings.
As he strings his lutes for his clients, and also teaches, he
probably comes into contact with more string situations than many of us.
Best regards
Anthony
MH
Anthony Hind [EMAIL PROTECTED] wrote:
Mimmo
You
- Original Message -
From: Anthony Hind
To: Martyn Hodgson ; lute@cs.dartmouth.edu Net
Sent: Saturday, August 25, 2007 11:20 AM
Subject: [LUTE] Rep : [LUTE] Re: Gut strings - 'Universale corde
musicali'
Le 25 aout 07 =E0 08:49, Martyn Hodgson a ecrit :
Dear Anthony,
I do, of course
Glad to see you are back, Martin (perhaps you weren't away).
The Purr'll strings are strong, but how do they sound?
Regards
Anthony
Le 25 août 07 à 16:44, Martin Shepherd a écrit :
Dear All,
My experiences with Sofracob gut are much the same as David's -
fine for
everything except a top
There was an excellent Kirkby documentary on British Television this
summer.
Anthony
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
David,
What a pity I have a MAC.
I think it is possible to use the Korg OT-12, not perfectly, by
cheating a little. I read that you can get 6th comma meantone with
Korg by selecting Vallotti and Young, which is the same as 6th comma
for the white notes only. Fine for lutes in A, D and G as
Dear Martyn
I don't know whether they are similar to Aquila Venice which
are a twine of two elements, and not a tress of three like Pistoys.
This according to Mimmo Perfuffo results in a more flexible string;
but I suppose flexibilty may not be everything.
I found the Venice very
the string: I'm not aware that modern
string makers have taken this challenge up yet.
regards,
MH
Anthony Hind [EMAIL PROTECTED] wrote:
Dear Martyn
I don't know whether they are similar to Aquila Venice which
are a twine of two elements, and not a tress of three like Pistoys.
This according to Mimmo
or three thinner guts twisted together which
inevitably introduced an element of discontinuity within the
string: I'm not aware that modern string makers have taken this
challenge up yet.
regards,
MH
Anthony Hind [EMAIL PROTECTED] wrote:
Dear Martyn
I don't know whether
_
Aquila Corde Armoniche S.a.s
www.aquilacorde.com
Phone +39 0444 986972
Fax +39 0444 989399
- Original Message -
From: Anthony Hind
To: Martyn Hodgson ; lute@cs.dartmouth.edu Net
Sent: Friday, August 24, 2007 6:49 PM
Subject: [LUTE] Re: Gut strings
www.aquilacorde.com
Phone +39 0444 986972
Fax +39 0444 989399
- Original Message -
From: Anthony Hind
To: Martyn Hodgson ; lute@cs.dartmouth.edu Net
Sent: Friday, August 24, 2007 6:49 PM
Subject: [LUTE] Re: Gut strings - 'Universale corde musicali'
Martyn
I just had a thought. If price
Le 23 août 07 à 10:00, LGS-Europe a écrit :
why on earth do record companies function like that?
They must have their logic with escapes me; and indeed, I wonder
Economics. I f a musician goes on tour with the programme he's playing
available in cd, he'll sell the cd.
Well, in this
PROTECTED]
a ecrit :
Anthony,
--- Anthony Hind [EMAIL PROTECTED] wrote:
It just
shows how heroic Jakob
Lindberg's gut strung Rauwolf project and his Bis
recordings must
have been, the mind boggles!
I have this CD. Its an absolutely beautiful recording
and - wow, what an amazing sound! (I
PROTECTED] a écrit :
Anthony,
--- Anthony Hind [EMAIL PROTECTED] wrote:
That is a fair point. However, at least some
of Weiss, I
believe, was composed on 11c lute, and some of it I
think was later
transposed for 13c lute.
Yes, this is definately true. Lindberg makes this
point
David
Sorry about my delay in getting back to you, but I had that niggling
buzz problem on the 4th course for a few months, and I would not want
to give my lute to anyone else than the maker. However, he is in
England, which could mean some time without it, horrible thought!
So I
Le 22 août 07 à 17:14, LGS-Europe a écrit :
When I want Beethoven, I buy Brendel, and I will respect all his
choices as part of the unity that he presents to me. Other player,
other choices, including sound. Compare Hoppy's and Nigel North's
Dowland recordings. Not just a different
Nancy
That is indeed, interesting, I thought it was the contrary. I
thought the recordings were made following the concerts, or
occasionally during the concerts. I did not realize, at all, that the
recording was made before the performer began his concerts.
Obviously you are quite
Nancy, Guy and Tony,
You clarify the presnt situation well, but does this not show that
my nostalgia for the old days of Astree LP records, financed partly
by the Centre national de la Recherche Scientifique, along with those
magnificent CNRS de Rippe tablatures, that I was able to
Le 20 août 07 à 11:48, Anthony Hind a écrit :
Le 19 aout 07 =E0 18:45, Edward Martin a ecrit :
Yes, that is the idea. If a stiffer string vibrates less at the
nut bridge, it will be in effect to the sound, a shorter string.
So, if you tune it in the open position, it will be true
Buzz on the 4th course.
I have found the answer to my question about the buzz on the 4th
course at http://www.aquilacorde.com/faqi.htm
The question
Why should two lowish twist strings on the 4th in unison buzz when
fretted or not, while two very hightwist, and flexible Venice strings
not do
I just quoted Mimmo Peruffo about the nature of Venice strings, but
then I saw that he says something similar about nylgut, which could
interest synthetics users (but no doubt you will have realised this
already, I admit I hadn't)
About Venice, Because of its nature a Venice string
Thomas
I forgot to mention a book for sale at the French SFL site (http://
www.sf-luth.org/index.php?Partitions/Le_Secret_des_Muses), Volume
34 : 80 Pièces faciles pour luth baroque by Jean-Luc Bresson, Oeuvres
de Dufaut, Dubut, Gautier, Logy, Pinel, Mouton, Reusner, Anonymes.
Paris
/tuning). Maybe I can do that tonight and report.
Ray
On 8/21/07, Anthony Hind [EMAIL PROTECTED] wrote:
I just quoted Mimmo Peruffo about the nature of Venice strings, but
then I saw that he says something similar about nylgut, which could
interest synthetics users (but no doubt you will have
explained it better than I can. If the string is true and very
flexible, the intonation is usually much more accurate than a
stiffer gut string.
ed
At 11:04 AM 8/19/2007 +0200, Anthony Hind wrote:
Hello Ed
You are no doubt right, as Venice are supposed to be double
direction
Le 20 août 07 à 16:34, Taco Walstra a écrit :
On Monday 20 August 2007 15:06, Mathias Rösel rattled on the keyboard:
Taco Walstra [EMAIL PROTECTED] schrieb:
The pieces by Baron are simply horrible and not interesting at all.
I'm sorry? Bit harsh of a judgement, don't you think? I had the
Hello Ed
You are no doubt right, as Venice are supposed to be double
direction twist (not triple); but in their blurb they claim they
are the most flexible string on the market, as they explain, here:
The Venice strings possess a remarkable degree of elasticity and
pliability,
Dear Gut lovers, experimenters, and gut tolerators,
After Ed. Martin's remarks on the flexibility of Pistoys and Venice,
I had a short communication with Mimmo Peruffo on that subject; and
he says that Venice are a twist of two, rather than three, but that a
twist of two, in his
you,
rename this change the Great Bowel Shift.
Sorry, I could not help it, mi Lud
Regards
Anthony
Le 19 août 07 à 16:20, Roman Turovsky a écrit :
From: Anthony Hind [EMAIL PROTECTED]
Dear Gut lovers, experimenters, and gut tolerators,
After Ed. Martin's remarks on the flexibility of Pistoys
Ed
That probably explains a problem I had on my 4th course. An
annoying, but mild buzz appeared on my Kurschner gut strings on that
course. I was sure it was either that the two strings were relatively
out of true, not beating identically, thus beating together, or one
of them
Le 17 août 07 à 04:45, David Tayler a écrit :
There are several things one can do to tweak the sound of carbon, but
it won't sound as good as gut.
It sounds pretty good though and stays in tune under the spotlights.
Carbon can sound a bit too bell like on some luttes.
The easiest, low
to less presence than nylgut.
Best wishes.
2007/8/15, Anthony Hind [EMAIL PROTECTED]:
Dear Bruno
Martin Shepherd was particularly suggesting the use of KF on the
5th course of a Renaissance lute. This is what Jacob Heringman
sometimes uses combined with nylgut on the top courses
Hello Ariel
You seem to be an example that proves me wrong.
It is just that I did notice how, at first, I found it difficult to
make my gut basses sing.
I am still far from happy with my playing abilities, but I have
noticed an improvement, here.
However, on the instant I moved from
Dear Bruno
Martin Shepherd was particularly suggesting the use of KF on the 5th
course of a Renaissance lute. This is what Jacob Heringman sometimes
uses combined with nylgut on the top courses, and gut diapasons below
David
I think at present, we all listen to your MP3 recordings on the
computer, but should you think of producing these as CDs, then the
fact that many people have very different systems, some very dry,
others very warm, makes it an almost impossible task to please every
one.
Dear David
I am back from a break in the UK. I find your experiments very
interesting. I notice a strange difference between the first three
Left - Centre - Right. To my ears the Left and Right ones sound
slower than the centre one. Of course that could be you (you are
obviously
Le 12 août 07 à 11:08, LGS-Europe a écrit :
Obviously. So you like the Greensleeves without reverb better than
the one with? (The last two of the five Greensleeves on my page). I
think I do, but for most people who commented it is too dry, they
prefer the takes with the artificial
processes, which you are also sharing with us. Thank you.
Regards
Anthony
Le 12 août 07 à 20:37, Anthony Hind a écrit :
Le 12 août 07 à 11:08, LGS-Europe a écrit :
Obviously. So you like the Greensleeves without reverb better than
the one with? (The last two of the five Greensleeves on my page
Dear Thomas
I think Miguel Serdoura is not far from completing a method. On his
site there is the following quote: he is preparing a method for the
baroque lute, to be published by the French Lute Society in 2007.
http://www.miguelserdoura.com/?Biography
Regards
Anthony
Le 13 août
David and Ed
This is just a passing thought and I admit more one for the sound
engineer than the lutist. I know you probably won't want to go to the
extra trouble involved, but one way of making a recording a little
less dry is to use a valve and single-ended transformer preamp.
Dear David and Stewart
Le 4 juil. 07 à 12:57, Stewart McCoy a écrit :
Dear David,
My impression is that the mikes are too good, inasmuch as they pick up
everything. In the Dowland Pavan I can hear you breathing. I prefer
the
Delight Galliard, where the mikes are a couple of yards or so
David
Each recording is of a different instrument, so it is difficult to
compare in any very serious way. However, I think I like the more
natural resonance
of the Johnson, Galiarde to delighte, with mics, and I felt you were
really enjoying playing it, so it also delighted me.
I
Le 4 juil. 07 à 00:15, David Tayler a écrit :
I've tested over 200 mics for lute and one of the best budget mics is
the Studio Projects
B1. It costs about $90.
It is cardioid, so it won't give you that omni sound.
And it is not a Schoeps M2 or a Sennheiser MKH20.
dt
David
John Buckman
Recital : Friday, July 20, 2007, 19:30 The Big Barn, Old Farm,
Horspath, OX33 1HZ, Oxford. Contact : David Humprey E-Mail :
[EMAIL PROTECTED] United-Kingdom
Regards
Anthony Hind
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Serpentistsss
I think I heard my first serpent knowingly (while also seeing it)
very recently in an orchestrated version of Purcell's Dido Aeneas,
(orchestrated by Philip Pickett with the help of Andrew Pinnock) here
in Paris. This serpent was making suitable grumblings to
Le 27 juin 07 à 17:51, Stephen Kenyon a écrit :
Anthony Hind wrote:
Dear Serpentistsss
I think I heard my first serpent knowingly (while also seeing
it) very recently in an orchestrated version of Purcell's Dido
Aeneas, The Serpent was played by expert serpentist Philip Humphries
Dear Martin, or any body else,
I am still wondering whether my interpretation of the
quotations in
your web page, Martin, as implying that the 5th course could have
been in unison for Holbourne, Dowland, etc, is at least compatible
with the facts as known, or whether it is a
Le 25 juin 07 à 13:48, Anthony Hind a écrit :
Oups, I lmeant 17th century
AH
Dear Martin, or any body else,
I am still wondering whether my interpretation of the
quotations in
your web page, Martin, as implying that the 5th course could have
been in unison for Holbourne
Sorry again, nooo of course I didn't mean 17th century, I clearly
meant 16th century.
Hardly have I put key to computer than I became struck by self doubt.
AH
Le 25 juin 07 à 14:13, Anthony Hind a écrit :
Le 25 juin 07 à 13:48, Anthony Hind a écrit :
Oups, I lmeant 17th century
AH
Le 25 juin 07 =E0 17:01, David Rastall a ecrit :
On Jun 25, 2007, at 7:48 AM, Anthony Hind wrote:
...could not several modes of stringing have continued
side by side during the period...?
They continue side by side today, so I would imagine that they did
then too. I don't see
and more complex story.
Best wishes,
Martin
Anthony Hind wrote:
Le 20 juin 07 =E0 10:45, Martin Shepherd a ecrit :
Dear Anthony,
I have not tried KF for the 6th course but I am pretty certain it
would
be too stiff.
The Lyons are also relatively stiff (it is high twist
Dear Ron and Stephen
In fact such spelling variation has continued in registers even up
to recent periods.
My family used to have a middle name Stobo-Hind and my father
continued to
keep this name. A member of the family trying to trace the origin of
the name discovered
that it could
Dear Martin
I see from this that there has been a confusion. I did not have
unison stringing on the 6th, only the 5th up.
My question raised in my last message remains, as I am not sure (as I
stated just now), how I should interpret your page (I think that
probably is a reflection of
Le 21 juin 07 à 09:12, Ron Fletcher a écrit :
Hi Stephen,
There was no set standard of spelling in the 16th century. Many
registrars
wrote names as they heard them from the couples being married etc.
As many
citizens were illiterate at that time.
I also read that her book has the
the field of music.
Regards
Anthony
Le 21 juin 07 à 16:16, Howard Posner a écrit :
On Thursday, Jun 21, 2007, at 02:21 America/Los_Angeles, Anthony Hind
wrote:
[Rather a lot of interesting historical-phonetical-type stuff]
In addition to looking to regional or temporal changes in
pronunciation
Le 21 juin 07 à 17:47, Stewart McCoy a écrit :
Dear Ed,
Had he not died prematurely, Prince Henry would have become Henry
IX, but
his subjects were never going to be large marine mammals. :-)
Although, in French the word for the young pretender to the throne is
the dauphin and it also
down to about 20N
for the 9th course, paired with a higher tension octave, and that
seemed
to give better results than a higher tension fundamental.
Best wishes,
Martin
Anthony Hind wrote:
Dear Martin
Good to hear from you again. I am interested in your positive
comments
on the KF
together.
Thank you, Martin, for your very helpful comments.
Best regards
Anthony
Best wishes,
Martin
Anthony Hind wrote:
Dear Martin
Good to hear from you again. I am interested in your positive
comments
on the KF strings, although at present I will probably stay with gut
the major lute pioneers
of the 20th C because they had an ingrained belief that unisons were
superior and thought that Dowland supported them in that view. The
evidence (such as it is) tells a different and more complex story.
Best wishes,
Martin
Anthony Hind wrote:
Le 20 juin 07 à 10:45
Dear Stephen (Steven?)
I may be wrong (I often am) but I don't think the spelling of names
was quite so standardised at that time.
I see much variation for Holbourne, etc
There may be an accepted
spelling, but that would probably
be a modern fairly arbitrary decision, I think.
Anthony
Several previous messages from synthetics users mention the advantage
of using carbon strings on the 4th and 5th course to avoid wire-
wounds. Nobody, in that discussion (i can recall) mentioned Savarez
KF. Some answers contrasted carbon and nylgut, others carbon and gut.
However, I notice
David
I agree with what C.G. says,the recording is quite natural but
with a hint of the metallic. I would imagine it could be due to the
frequence cut operated, by transferring to MP3, or even the tonal
quality of the internal mike, rather than any double strings (if they
are
be successful on a unison
course,
but it makes a very handy alternative for a gut string when you
want to
be waterproof.
Best wishes,
Martin
Anthony Hind wrote:
Several previous messages from synthetics users mention the advantage
of using carbon strings on the 4th and 5th course
Le 16 juin 07 à 02:25, David Rastall a écrit :
On Jun 15, 2007, at 3:37 PM, Howard Posner wrote:
...please don't tell us you're utterly confused and
ask very basic questions, then tell us how offended you are when you
get basic answers that don't acknowledge your advanced state of
onto
the lute.
Best wishes,
Denys
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: 15 June 2007 19:25
To: Stewart McCoy; Lute Net
Subject: [LUTE] Re: Lute Chord Confusion
Thank you Stewart
I must admit I hadn't read Besard, but the texts I had
Ed
Surely there must be some preamplification. I was thinking of
electronic noise (or grain), not motor noise.
If there is no such preamplification, you could be right.
Regards
Anthony
Le 15 juin 07 à 13:01, Ed Durbrow a écrit :
On Jun 14, 2007, at 6:06 PM, Anthony Hind wrote:
Any
Neil
It is interesting that lute manuals do not usually give chord
shapes, whereas this is often
basic to guitar text-books. I think this may be because, it is felt
that although Renaissance lute players
may have used what we would recognize as chords, perhaps if they came
from a
chart to transfer notes
from one notation to the other. After a while, you become so
familiar with the notes on the fingerboard, that you hardly need
look at your cog.
Best wishes,
Stewart McCoy.
- Original Message - From: Anthony Hind
[EMAIL PROTECTED]
To: Narada [EMAIL
, there are a lot of pieces based on standard
ground bass
patterns (bergamasca, passo mezzo, romanesca, la Folia, Conde
Claros...)
which do basically correspond to chord/rhythm patterns.
Guy
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Friday, June 15, 2007
study, too many books, so
I'll get
back to the living room for more experiments.
To be continued.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
- Original Message -
From: Anthony Hind [EMAIL
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: 14 June 2007 10:07
To: LGS-Europe; Lute Net
Subject: [LUTE] Re: home recordings
David
In general, books and book-shelves are the best things you can
have
for improving a recording studio or listening room
Le 14 juin 07 à 13:33, LGS-Europe a écrit :
Dear Anthony
I am still in the research and learning
process
Aren't we all, for ever?
David
Yes but in my case, the accent is more heavilly on the need to learn,
I would guess.
Oh, well, no, you are quite right, there is no limit to what
I far prefer the non reverb sound. I agree with John Buchman
(Magantune) that choosing a large hall for recording lute or
harpsichord is a mistake.
If you add reverb, it has a siliar effect. I know that MP3 is a
little thin, but I don't think that reverb is the way out of this.
That is just
Le 13 juin 07 à 16:13, Anthony Hind a écrit :
I far prefer the non reverb sound. I agree with John Buchman
(Magantune) that choosing a large hall for recording lute or
harpsichord is a mistake.
If you add reverb, it has a siliar effect. I know that MP3 is a
sorry, I meant similar effect
AH
Bruno
Yesterday, I was with a player who has just changed back to nylgut,
from carbon fibre. He told me that carbon was too slippery to the
touch and not very subtle in sound. According to him, Nylgut was
closer to gut from that point of view. Personally, I have never used
carbon
Eric
If you have access to the lute society music editions, you will
find that in the publication 58 Easy Pieces for Renaissance Lute, on
page 26 of this, there is an edited (corrected) version of Green
sleeves, from the Ballard book. There are two slight alterations.
This might be a
David
John Buckman of Magnatunes, kindly replied, and told me, I like the
Studio Projects omni mics, they cost me $300 a pair and I did an
album of Jacob Heringman with them.
I hope that may be helpful, perhaps to others also.
Best regards
Anthony
Le 3 juin 07 à 16:38, LGS-Europe a
Dear, David, and all,
The thing is, as you say, to use only two mikes and to avoid
any over-amplification and echo. Jacob Heringman says that he always
uses B and K 4006s, one pair, placed roughly where the ears of a
person standing six feet away from where I'm sitting would be.
It could be a typical case of phonetic variation. I think when French
speakers imitate people from Alsace speaking French they tend to
pronounce initial /b/ as /p/ (I am thinking here that Alsatian French
might be influenced by German, which some may want to refute). It
would then seem
Was it just for the music, or was it also to support the lute?
Anthony
Le 20 mai 07 =E0 07:21, Ed Durbrow a ecrit :
On May 15, 2007, at 11:31 PM, Anthony Hind wrote:
The prospect of every lutist carrying his own table around is a
little daunting,
Jakob Lindberg does. He designed an amazing
Dyslexia
The use of well adapted glasses could indeed be a way of avoiding
precocious eye-related tiredness, which according to Laura Maschi
could contribute to vertical dyslexia.
I will be rushing out later to the optician. I have been using some
American pharmacy glasses that had about the
, Empress of the Known Lute World
a écrit :
Anthony Hind wrote:
[big snips]
perhaps your breathing, if you sing at the same time. Catherine Usher
also points out that this position may be less easy for women.
Actually, Catherine was a rather different empress. . . .
--
Caroline Caroline I
Ron
I have to admit that I haven't heard or read Christopher Morrongielo
on this research into lute tables (does any one have references? I
did a wb search and came up with nothing, in this area), so my
imagination and inventive inclinations may have got the better of me.
In fact this just occurred and I stopped for five minutes or so to
write you my previous message. I then went back to my lute and the
normal reading mode had returned.
Could this simply be momentary tiredness, a need for a new pair of
glasses, or
?
Anthony
To get on or off this list see
cure ( not fully ) is to drink say
5 pints
instead of 6.
Hope this helps
N
-Original Message-
From: Anthony Hind [EMAIL PROTECTED]
Sent: 16 May 2007 16:23
To: Lute Net
Subject: [LUTE] vertical dyslexia?
Dear All
Recently, I have noticed that I seem to be beginning
Bill
I'm sorry about that. My part-time dyslexia does not seem a joke to
me. I began to wonder what was happening to me, so I can sympathize.
In fact, it may be a mild form, I have, that is only revealed under
duress. On the other, hand as someone else suggested, it could be one
of
Bill
I envy your memorizing abilities. I have just been thinking what
your situation implies. You obviously must have found a way of
learning all pieces by heart.
I find that extremely difficult, but began trying to do so after
reading an article by Matthew Wadsworth on that
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