As an infidel heretic myself with a tin ear I salute and welcome
you and thanks very much for a heads up on this tuner. Between my
Baroque lute of a mere 24 strings and my wife's harpsichord any good
tuner will not be bored or underemployed here. Before the batteries
wear out on the Violab
Singers are the best, because normally they don't know anything of
the rhythm and pulse; you normally will be the boss with the
singers...
My experience has been that when playing with someone who has the
lead role and has to breathe, you are most definitely NOT the boss-
merely an at-will
Andrew,
It is hard to read between the tears.
ray
Read further:
Lutenist: The lutenist is simply an instrument plucker without a
neck. He considers himself a much more dignified plucker than the
guitarist, although he is similar in construction to the guitarist
with the exclusion of his
Without a neck?
He couldn't be a violinist either, - he'd never get it under his chin!
Where do you think treble viol players come from? Wickedpedia- a
never ending resource!
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The Parnassus of Awesomeness- going beyond the merely personal- would
then have to be Thomas Mace's Lute Diphone - a 12 course
double-head head lute mated to an English Theorbo; an idea that he
put into Musicke's Monument to help with his growing deafness.
Happy Christmas to you too. Dan
I
Is it a Baroque or a Renaissance string?
Is it a thumb under or a thumb out string?
Does it warble?
Does it sing?
We need no lute,
It's the whole damn thing!
The person at the postal window had a difficult time finding the proper
code, so I sincerely hope it gets there. I clearly marked on the
Sorry Martin, I can only recall that I did read it in a friend's copy
many years ago. Although I don't have an eidetic memory (I have the
other kind) it did strike me very strongly. I hope someone else on
the list can jump in, verify my recollection and pin down the quote.
The most spectacular
Go for a lesson with Nigel North. The first thing that happened when
he didn't like my sound was to grab my right hand, check the finger
tips, and start sanding! He comes equipped, no doubt expecting more
of us to be blue collar lutenists than blue blood. Thank God he
doesn't travel with a
If you take g' at a'=440 as a reasonable pitch for a 60cm string
length - and I find a good gut string is fine at that pitch - then
the equivalent for f' is about 67cm and for e' about 71cm. So I
have no problem tuning a baroque lute to f' at a'=415, as long as
the string length is less than
Sorry- try this:
http://polyhymnion.org/torban/torban3b.html
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Some historic builders had their own problems- if
I remember my secondary sources correctly, the
Thirty Years War wiped out the lute building
center of Füssen and all lute building traditions
associated with it; consequently some of the
German 18th century lute building standards were
just
One thing I haven't seen anyone address re the swanneck- fingered
accidentals on courses 9 - 11. How are you folks dealing with these
situations? Up an octave, or eliminate those pieces from your
repertoire? Dan
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Very nice, indeed. You've still got it. My front lawn should be half as green.
Piazzola has its place; but not on the theorbo. Paper plates work
just fine. I like mine with anchovy and eggplant.
The def is still higher than my perceptual ability at this hour of the morning
In a Garden So Green
Absolute, bottom line for me- in Weiss's music the 9th-E/Eflat course
is just fingered too damn many times to be put on an extension. The
10th and even the 11th also get their share of accidentals- there is
at least one fugue that for me loses it all at a very important spot
if the fingered
This slow you down aspect is one that I am finally able to address
personally after over 35 years of lute playing. I finally got my
first 7 course lute last year; an Andreas Holst, 62 cm. SL. All my
previous R lutes- 57 to 72 cm- had all been 8 course. (I'm not
counting the 10 course and
In this somewhat nihilistically arcane vein I recall Dmitri
Shostakovich's instructions on playing his 15th string quartet: I
want you to play it so that flies drop dead in midair, and that by
the end of the first movement the entire audience has gotten up and
left the building. -as best as I
David, I know- it took hours of work with a floor sander for Mel to
get all your years of topsoil off the lute (7 course, of course!) I
have that you once owned. It was beyond green. My turn to come with
something that anagrams nicely on it.
I treat mine with dirt. It turns green after a
One of the first lute books I got when I was a wee grasshopper at
this lute business (young classical guitarist, late 60's) was a
printout of a microfilm of the English version of Adrien LeRoy's
book. All the old pass'e mezzi and other dances, for 6 courses.
Clearly visible in old handwriting
Right on, Ed! The lute that I call a double 7 (It's NOT an 8 course!).
A great majority of the music for which I use that instrument is
for 7 course, but it is so very convenient to have both a low F
_and_ D, so I do not have to re-tune the 7th course. I also
sometimes put octaves on both
Just a passing fancy on the way to 14 course Hell.
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Happy hour down at Schroedinger's-
Killer martinis.
I source all my quantagut from Schroedinger's Gut Hut.
It's the real thing. I think. Or at least it might have been.
You should google the address; I can't recall what state it will be in.
dt
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I'm holding out for quantum frets, that change temperament when you
look at them.
dt
You need a special mechanic for that type of fret- and spectacles of
tempered glass. Now we know why the blind lutenist Giacomo Gorzanis
favored ET.
I used to change temperament whenever my first wife looked
In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
Why I hate Valotti (or is it Young?):
http://music.cwru.edu/duffin/
Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around with
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
Any ideas about this. Yes I know you are going to tell me to swap my
gimped for wirewounds!!!
and that the Korg is telling me that the string has gone false
One big problem with
Hi Rebecca- love to help, but we need to know the string length. I
don't know the extreme limit for a D [EMAIL PROTECTED], but when I had a
short scale bass for solo work, I could get up to E @A=440 on 72 cm.
w/nylon before the instrument's response pooped out. I usually kept
it at 415 to 420
In theory, there is no difference between theory and practice. But
in practice, there is.
- Yogi Berra
Sorry all, couldn't resist.
Not quite Lord Copper: the whole point is that he doesn't actually
'do it in practice' as you put it. He ignores (or is ignorant of)
the different
On Nov 13, 2007, at 6:47 AM, Nigel Solomon wrote:
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with
... I recommend first people learn hexachord theory and play bicinia from
Josquin, Lassus Isaac.
I assume the Morley can be found reprinted and for sale at any of the
usual sources; but is there a good anthology of Bicinia? Funny thing,
I was just thinking of them recently as I wanted to get
And why wouldn't it work without the capo? Ed Martin has addressed
the lute size (and the ever elusive but false Geeness obsession of
20 -21st century lutenists) succinctly and completely. I would only
add that one reason for the use of tabulature is precisely BECAUSE
the G pitch was but one
The music will sound much more lute-like at that pitch. This
statement is misleading. Why would a Terz guitar (guitars scaled to
G, built in the early 19th century and also sometimes seen in
Mariachi bands) or a capoed E instrument sound more lute- like than
my old E bass lute? Even a G lute
I don't mean to be unduly negative here, but that remark hit an old
sore spot- I started out on a classical guitar back in the 1960's
and people used to tell me- Put a capo on your guitar- NOW you have
a lute! Sorry, but I sure as hell did not. And then it took years
just to get a bad lute,
Suggestive of a social reason to change? I think that would be well
after the fact of wider necks for easier polyphonic chordal playing
as well as extra courses. Perhaps similar to RH thumb style changes
in that the thumb-out playing was already well established for
technical and sound
Surprisingly good sound and playing level- visually pure Monty
Python. Doesn't get better than that. -Dan
From the Guardian (UK) 13 October:
..if you want a good laugh at the expense of the early-music
movement, there is on YouTube an excellent early film of Arnold
Dolmetsch playing the
Too late! Capirola's 2¢ has been accumulating
with compound interest for about 500 years
just read Capirola! 'Alla volte el si puo
accomodarsi su la corde contrabassa su ogni
tasto' (Sometimes one can use it to play the contrabass string on any
fret). Silvestro Ganassi also writes of
Some of the old Martin OOO and Washburn parlor guitars also had the
V-neck. I absolutely hated it. Only on sweaters and undershirts for
me.-Dan
I prefer a thick neck and even a V neck on a 6 course.
If the V (rounded V) is done properly, it fits right into the hand,
and you can hang your
interchangeable fingerboards for different temperaments- and there is
an Iranian guitarist (forget her name) who has jusdiciously placed
tastini on her guitar for Persian microtonal work.
Lily Afshar?
YES.
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... please excuse my ignorance.
I don't know about any excusing, but ignorance is not an issue here
except my own. I just came up from the lab, where I did a feasibility
study for fingering purposes only. 7 string, steel-string guitar;
dropped the 4th 5th as per G tuning (which of course it
I played for some time an instrument with doubled first course, the
spacing was very important and the sound was not good above an F.
Exactly my experience- Barber-Harris vihuela, 64.5 cm sl, doubles
worked at f, no higher- (instrument as a whole craps out down at e,
sounds best somewhere
Interesting- my experience has been the exact opposite. My hybrid 6
course (Arnault de Zwolle body mated to a typical late 15th/early
16th century 8 fret 6 course fingerboard) originally had a very thin
neck; extremely uncomfortable (hand cramped up) but only after about
20 minutes or so of
I think Mimmo Peruffo may not reply because he may not want
to appear to be advertising his wares on this list. It is a
difficult situation for string makers and lute makers whenever they
communicate, it could be considered that indirectly they are trying
to sell their wares.
Couple of
stick something close tothe 7th fret...
Alan
- Original Message - From: Daniel Winheld [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, November 04, 2007 6:15 PM
Subject: [LUTE] Re: historical lute stringings
I think Mimmo Peruffo may not reply because he may not want
to appear
Top of the afternoon to you too, Ed-
Not against markers, just don't like the appearance. On my 72 cm. 8
course, (that's a LONG highway for these old fingers) Barber put a
very discreet little white dot at the seventh, on the neck near the
neck/fingerboard junction, worked very well anytime I
Alright, this thread has finally bitten me- Where
can I get TUSQ? My 7-course badly needs a new nut
anyway. Are blanks available?
Thanks, Dan W.
Compared to standard materials, you'll hear
crystal clear bell-like high end, big open lows,
and a noticeable increase in overall sustain.TUSQ
Craig, I think your friend would be much better off to simply trade
for a very cheap, 6-string guitar set up for nylon and just dive
right into the Renaissance lute repertoire as is. As was pointed out
somewhere, the Barley lute book came out in 1597 for a 6 course lute.
As a beginner it will
Hi honey I'm home time for some answers-
Yep. Archery-derived lutestring hooking would produce deliciously funky sound.
Hooking of lute strings would have to be learned independently of
archery. At one's very first archery lesson it becomes manifest that
the shot cannot come off unless the
Some confusion may be due to the works of Allan Alexander, who has
composed or arranged and published easy beginner's pieces for
Renaissance lute. For what it' worth here is his website:
http://home.earthlink.net/~guitarandlute/ dw
I believe the Alexander Method is one of
A shame that Henry and Liz were not privy to your wisdom. The great
target scores of English SPORTING archery, set by A. Horace Ford in
the 1850's -unmatched until the 20th century- were accomplished after
the advent, flowering, and hegemony of the lute. Are you saying
that Howard Posner, Ben
Obviously a situation calling for using the mighty Yew tree in its
military form. Shakespeare, of course, understood the need for
preparing the venue before a concert could proceed- First, we kill
all the lawyers... and the longbow, even more than other bows, is a
silent weapon well suited
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