On Sep 9, 2007, at 5:43 PM, Rebecca Banks wrote:
My Bass Renaissance Lute is arriving soon from Brazil and
Luciano Faria. I have a golden wooden flower medallion with a hook
that I am going to hang on the wall and I am going to tie a velvet
tie around the throat of the Lute and
On Sep 10, 2007, at 12:21 AM, Rebecca Banks wrote:
The 6 c. Lute you hang on the wall - did you purchase the Lute
secondhand or did it develop the crack over time having been hung
on the wall.
The crack had already been repaired before I bought the lute. I just
didn't notice the
,
David Rastall
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Many thanks for the information on transitional tunings. As always,
you guys know everything!
David Rastall
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to know where else pieces may be found in transitional
tunings. Are there other tunings also? Is there perhaps a modern
edition available of pieces for 10-course in transitional tunings?
David Rastall
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by historical
lightbulbs. It's difficult, in the world of our own modern
lightbulbs, to be able to imagine the world of the early bulb. But
to think sepia, and not full-color, is the clear message we get
from studying the iconography surrounding HIP lightbulb-changing.
David Rastall
Dear all,
Anyone know where I can find some biographical info on Lauffensteiner?
David Rastall
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Leben
und Schaffen zweier Lautenisten in kurbayerischen Diensten', SMw,
xxvii
(1966), 200-40
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To: lutelist Net lute@cs.dartmouth.edu
Sent: Sunday, August 19, 2007 9:55 AM
Subject: [LUTE] Wolfe Jakob Lauffensteiner
Dear
Those clips are gorgeous! Where does one go to buy this CD?
David R
On Aug 12, 2007, at 3:30 PM, Mathias Rösel wrote:
Edward Martin [EMAIL PROTECTED] schrieb:
Ariel,
I had never heard of here before, But, I found this CD of Weiss
Bach. I
listened to the clips, and it sounds
guess, but I think Bach is one of the very few composers who deseves
to have some time spent on looking for the ideal performance.
When is Barto going to record some Bach? Or Richard Stone? I think
that would really be something to hear!
David Rastall
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On Jul 31, 2007, at 11:19 AM, G. Crona wrote:
This list is a sucker for quickly broadening the subject. *Very*
non-academic! ;)
Whatever happened to the [olim] or [was] before the subject when
broadening?
Netiquette, people, netiquette!!
And now we're on the subject of broadening the
was all set to
throw the rules out the window and just play power chords!
David Rastall
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On Jul 31, 2007, at 12:50 PM, LGS-Europe wrote:
You know, untill last year I didn't even know what power-chords were!
The up and coming thing in basso continuo, so I hear...
David R, just trying to keep from broadening the topic. ;-) ;-) ;-)
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On Jul 30, 2007, at 3:22 AM, Rob wrote:
Our lute world is very different
from the 17th century - no online list for debate (if we glorify it
as such
for a moment),
But still plenty of communication between musicians.
much more regional variation in playing styles, more variety
of
On Jul 30, 2007, at 4:02 AM, Rob wrote:
Are you saying the Baroque did not value individualistic music
making?! It
seems to me to be one of the periods most interested in
improvisation and
the glorification of the performer.
The performer in many cases being also the composer, or some
notwithstanding, those
were the rules they played by.
David Rastall
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?
Another question is: Do you think that 83cm at the bass rider is
long enough to use single bass stringing?
Regards,
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Oblivious Performances.
Strictly my own opinions. I await the flames.
David Rastall
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. ;-)
David Rastall
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On Jul 22, 2007, at 8:35 PM, David Tayler wrote:
It used to be unheard of to use the main note trill in
later baroque music, but now it is relatively common; the next step
is the use of the above note trill in early baroque music as well as
in renaissance music, shaping resolving the trill
On Jul 18, 2007, at 8:35 AM, Edward Martin wrote:
I agree. There is nothing inauthentic in Nigel's style.
Given the great variety of RH positions depicted in old paintings, is
there such a thing as an inauthentic style?
David Rastall
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You make it sound as though the piano is easy. I'll tell you what's
easy: for guitarists/lutenists to proclaim that their instrument is
soo much harder to learn than the piano! Please, you're breaking
my heart :-( :-( Do you think piano students don't spend years
learning to
, but were very far advanced on us in that regard!
If we use ourselves as a starting point, perhaps we'll find that
there are more windows into that long-forgotten world than
scholarship alone can open for us.
David Rastall
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but supplied by the upper octave of a
lower course.
Thanks Martin, and Howard, for your input on this, although I have
seen bass lines in staff notation do those things from time to time.
David Rastall
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the waves with a
vihuelist on its
back (Arion, I believe), so not royalty in this case.
So in English le dauphin could well be loosely translated, as the
Prince of Whales
David Rastall
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again, out of curiosity: how can some passages suggest either
octave or unison stringing?
Best regards,
David Rastall
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just doesn't translate very well onto
the lute.
There are some instances where the guitar can be a different size,
e.g. a terce guitar, where the player still plays from the same notes
he would if he were playing in E.
David Rastall
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It should henceforth be known as the Chimneypot Cantata.
On Jun 14, 2007, at 11:52 PM, Roman Turovsky wrote:
And this is quite interesting too, by a Russian aacquaintance of mine:
http://www.youtube.com/watch?v=-OPA8vdZSK8
RT
- Original Message -
From: David Rastall [EMAIL
it's good idea to
know what actual notes you're working with. If you can discern a
bassline, then grow your chords from that.
David Rastall
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. A and A minor are adapted from
guitar F#. B flat adapted from guitar G. C and C minor adapted from
guitar A. D and Dm adapted from guitar B7. E flat adapted from C
and so on.
Hope that helps.
David Rastall
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of our smart discussions about what harmony *really* meant in the
1500's.
David Rastall
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; in fact I have two vinyl
record albums (from 1968 and 1976) of Dances of Dowland which I
still listen to from time to time. I guess he started playing the
lute some time in the fifties(?).
David Rastall
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carry my lute with me everywhere I go just in case I
should happen to run into a major composer! ;-)
David Rastall
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was Donald Brittain. Go
to www.lmreferencelibrary.ca/index.asp?layid=44csid1=405navidF.
David Rastall
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Sorry, make that www.filmreferencelibrary.ca/index.asp?
layid=44csid1=405navidF
David Rastall
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thrown in, but don't absolutely have to. The fact that so
many repeat sections are written out tells me that repeating the
sections was generally a desirable move. That's my take on it.
David Rastall
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to it for whatever reason. One thing's for sure: it's not listed
anywhere as Anonymous...
David Rastall
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Boethius Press edition of the Board Lute Book, Phillips Pavan is
named in the Dallis Lute Book, Fitzwilliam Virginal Book and
Wickhambrook as written by Peter Phillips.
David Rastall
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too difficult...? A bicc
to play, you might say. ;-)
David Rastall
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spelling just a capricious version
of the other, like Douland, Doland etc. for Dowland?
On May 21, 2007, at 8:14 PM, Alain Veylit wrote:
Kapsperger or Kapsberger?
Alain
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David Rastall
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, alright, I
can hear Joe Mayes saying to me now: how do you know?, you weren't
there! (g...)
David Rastall
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have darkened enough (over the centuries...?) to obscure any single
smudge.
David Rastall
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,
folkies, bebop artists and country music chicken-pikkers, not to
mention bluegrass banjo and mandolin players who Play with Planted
Pinkies *must* have been taken in by spurious lute scholarship,
otherwise planting the pinkie would never have ocurred to any of
them! ;-) ;-)
David Rastall
On May 2, 2007, at 7:07 PM, Joseph Mayes wrote:
Yes - absolutely true - anything could have happened - to some of
them, even
most of them, but all of them?
Oh, well I've never actually seen all of them. In fact, I've never
seen any of them. But it does seem likely that some changes will
from the point of view of the qualities of tone and
articulation they produce.
David Rastall
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work both ways: we
can be informed about what they used to do by looking at what we do
today... Sometimes anyway.
Regards,
David Rastall
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in there
somewhere!
David Rastall
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On Apr 28, 2007, at 1:46 PM, Guy Smith wrote:
Don't forget Watkins Ale :-)
Not to mention Wit And Mirth: Or Pills To Purge Melancholy.
David R
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the Lute
Society of America probably has info on used lutes for sale.
David Rastall
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, even though you don't have to use those courses
all the time. An 8-course lute is a good all-purpose lute for
playing just about anything in the 1500's.
Regards,
David Rastall
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about
the present regime as you do.
Here's an open invitation, Arto: get your butt over here and I'll
buy you a beer and the meal of your choice: Texas steak, Maryland
seafood, Cajun, you name it.
Regards,
David Rastall
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was
almost thumb-under.
David Rastall
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Some fancy singing! Anybody recognize the guitarist?
http://www.youtube.com/watch?v=Sc8TZ5mc5SQ
David Rastall
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Arthur,
With all due respect to your theatrical namesake, why Willie Loman?
David R
On Apr 12, 2007, at 9:04 PM, Arthur Ness wrote:
Johann Wolff Gehard bin ich genand /
In Nurnberg ist mein Vaterlandt /
Pappier ist mein Acker /
Damit schreib ich Wacker
I think we've seen this clip before on the list, but does anyone know
anything about the player: He Chin?
http://www.youtube.com/watch?v=NLxb8PII3Wg
David Rastall
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have paid good money
to see Joshua Bell perform in his proper sphere: the concert stage.
So nobody stopped to listen to him in the subway. Rest assured:
there is still a concert stage out there, and always will be.
David Rastall
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the subway?
David Rastall
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no idea who that was...One of you olde-time
luters maybe?
David Rastall
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world ;-)) will
continue on its course as if Sting never existed.
David Rastall
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that thing that Sting plays. Ho! Ho! Just
kidding. Seriously, we're all mystified by Sting's success.
David Rastall
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___
All New Yahoo! Mail Tired of unwanted email come-ons? Let our
SpamGuard protect you. http://uk.docs.yahoo.com/nowyoucan.html
David Rastall
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, but it
seems to me those lutes are going to be played harder and probably
strung more heavily, and those things in turn will take their toll on
the life of the lute.
David Rastall
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On Mar 15, 2007, at 11:25 AM, Doctor Oakroot wrote:
The double bass is a viol that's lost its frets, not a violin.
So where did the violin (and presumably the cello?) come from?
David Rastall
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(www.gerbode.net). You'll find the lute part there, and the tune.
David Rastall
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Hi Luters,
Just curious: who is the theorbo player pictured with the Rebel
Baroque orchestra on their website?
David Rastall
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to a piece with a Mediteranean flavor, couldn't it?
A particularly spicy piece maybe.
Or maybe a particularly cheesy piece!? ;-)
David Rastall
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On Feb 28, 2007, at 12:48 PM, Charles Browne wrote:
...the torture and
execution of Catholics would have been gruesome and public with
many victims
being either friends or family.
All of which was sanctioned and legitimized in the name of national
security. (Sound familiar?) Elizabeth
would be left alone as long as you didn't get political.
David Rastall
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with the church organ!
Orchestras must have had to rely on some source of absolute pitch.
Brass maybe? I wonder if Baroque orchestras played in tempered tuning..
David Rastall
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On Feb 19, 2007, at 7:59 AM, Donatella Galletti wrote:
For a choir with a theorbo see here:
http://www.youtube.com/watch?v=xfU46JTBqXomode=relatedsearch
Donatella, thank you for posting this. I'd forgotten how much I love
those Purcell pieces.
David Rastall
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, and it doesn't make for
good music either.
David Rastall
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On Feb 7, 2007, at 6:33 PM, Edward Martin wrote:
I have my renaissance 8 course in partial nylgut, because I have to
use
that instrument under difficult situations. Otherwise, I mostly
use gut,
for vihuela, 10 course, baroque guitar, 11 course, and my 13 course.
When I bought my
On Feb 2, 2007, at 2:58 PM, Robert Clair wrote:
I'm editing an issue of the LSA Quarterly and I'm trying to assemble
a discography of CD's that have baroque lute chamber music.
For my purposes, define baroque lute ensemble music as music for
more than one instrument, where one at least one
On Feb 2, 2007, at 3:57 PM, Roman Turovsky wrote:
OBBLIGATO.
You mean just playing a bass line? That would be part of the
continuo, wouldn't it?
DR
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Yes, a little complicated, but I'm sure we can all stumble along... ;-)
On Jan 27, 2007, at 9:43 AM, Craig Robert Pierpont wrote:
Anthony's discussion of the oud in the middle east raises an
interesting question . It's a little complicated but follow me here.
As I understand it,
Hmmm...I'm not sure what he's doing with his right hand. He seems to
be using thumb-middle a lot, and filling in occasionally with the
index finger.
DR
On Jan 22, 2007, at 8:52 AM, Roman Turovsky wrote:
http://www.youtube.com/watch?v=2gqygn0JD1w
--- David Rastall [EMAIL PROTECTED] wrote:
Ho! Ho!
Here comes the voice of the big elitist: the worst
possible thing
for classical music is for it to become popularized.
In the world of
pop culture, to loosely paraphrase Oscar Wilde, the
only thing worse
for classical music than
Ho! Ho!
Here comes the voice of the big elitist: the worst possible thing
for classical music is for it to become popularized. In the world of
pop culture, to loosely paraphrase Oscar Wilde, the only thing worse
for classical music than *not* being talked about is for it to *be*
talked
It souds as though he's playing with fingernails. Not a bad sound,
though...
David R
On Jan 19, 2007, at 7:34 PM, Mathias R=F6sel wrote:
I've never before heard someone play music like this on the baroque
lute.
http://www.youtube.com/watch?v=rbyM3w2RbU8
--
Mathias
To get on or
I saw that on Amazon. That price is totally crazy!! Presumably it's
out of print...?
David R
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On Jan 17, 2007, at 5:55 AM, Benjamin Stehr wrote:
Hi,
http://www.amazon.com/Visee-Pieces-Theorbe-
Dear Baroque luters,
Are any of you familiar with a book entitled The Weapons of
Rhetoric by Judy Tarling? I saw it advertised in Von Huene's Winter
catalogue, and I was wondering if any of you can recommend it.
David R
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I have no problem at all in giving my opinion in public: I give it a
5! The music seems to me to be a skillful adaptation of music that
was, after all, supposed to have some movement and beat to it. As to
the dancing, it's not it's not bad dancing by anybody's standard
(that I know of,
On Nov 28, 2006, at 6:08 PM, Edward Martin wrote:
I agree in most of the aspects of your note, with
exception of the .43 being the smallest possible string... I am not
disagreeing with you, as I have no information on that topic. Dan
Larson,
my neighbor friend, is out of town (he is in
On Nov 27, 2006, at 11:04 AM, Herbert Ward wrote:
Does anyone prefer low-tension strings because of their tone?
Do you mean as in loosening the strings from 440 down to 415 or
less? I find that it depends on the lute. When I do that on my 62
cm. 6-course the sound is weak, whereas on my
On Nov 27, 2006, at 4:14 PM, Anthony Hind wrote:
But wouldn't it be even stronger at 415 by changing the strings for
ones giving equal tension to the 440 Hz tuned strings.
The 10-course?, yes, definitely it would. Right now it's strung in
G, which is a little too high for that instrument:
On Nov 27, 2006, at 6:02 PM, Manolo Laguillo wrote:
if the sound is better when you go down to 415, then perhaps you must
reconsider the stringing and tensions with 440. I mean (just asking):
could it be that the lute is suffering from too high a tension now?
I'm not sure. The stringing was
Hah! The McDavid is hysterical!!
DR
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On Nov 26, 2006, at 5:39 PM, Peter Hoar wrote:
...This is from a competition in which people ironically repurpose
art works
for advertising - the David as Ronald MacDonald is sublime.
From the ever delightful
On Nov 25, 2006, at 10:00 AM, Ron Fletcher wrote:
John Dowland died in 1626. Certainly in the infancy of reading-
glasses. I
guess many lutenists became short-sighted, playing/composing in the
wee
small hours by candle-light! Is there any record of lutenists
eventually
needing the
On Nov 24, 2006, at 12:06 PM, bill kilpatrick wrote:
just out of curiosity, does any negative, contemporary
criticism exist for the way dowland performed? did
anyone record the comments of others or personally put
pen to paper, accusing him of arrogance or being a
poseur - piqued commentary
On Nov 24, 2006, at 1:19 PM, Roman Turovsky wrote:
...there is always threat in originality, especially the morose kind.
RT
That's a profound statement. So is it Sting's moroseness, rather
than his commercial success, that makes him such a perceived danger
to the house of cards? (just
On Nov 24, 2006, at 2:52 PM, Roman Turovsky wrote:
I was referring to Dowland's moroseness.
Ah...
As to originality-
S/EK project has enough of it to merit considerable attention.
For the second time around apparently.
Here's a stray thought: I'd like to hear Diana Krall's take on
On Nov 24, 2006, at 3:05 PM, Roman Turovsky wrote:
Oh, Roman, Roman---!! Diana Krall is a great jazz singer (lives in
NYC, married to Elvis Costello), with a delivery that would rock
with Flow My Tears (aka Cry Me A River?)!
Here's a stray thought: I'd like to hear Diana Krall's take on
On Nov 24, 2006, at 5:33 PM, Roman Turovsky wrote:
Why don't you approach her with such a proposal? Include a demo of
your own
lute playing.
Ho, ho, ho!
Actually considering that she usually employs a guitarist as part of
her ensemble, a plucked instrument would not be all that
I'm looking forward to hearing this CD. Ronn McFarlane needs no
introduction here, but if any of you have never heard of Ann
Heymann: she is one of the greatest clarsach players of all time.
David R
[EMAIL PROTECTED]
www.rastallmusic.com
On Nov 22, 2006, at 11:29 PM, marigold castle
On Nov 15, 2006, at 1:04 PM, Narada wrote:
What fascinates me now is to find out whether the lute has scales
such as
major, minor, Aeolian, Lydian etc and chordal structures.
Sure it does. It has all those things. I know it sounds as though
I'm stating the obvious, but you get the
On Nov 14, 2006, at 12:22 PM, Are Vidar Boye Hansen wrote:
I know the fingerboards of my renaissance lute in G, baroque lute in
d-minor, archlute in G and fender stratocaster in E. I honestly don't
understand why many lutensits find this so difficult.
Not to mention acoustic folk guitars in
On Nov 14, 2006, at 1:04 PM, Jim Abraham wrote:
Well, if that's the case, why use tablature? Really. Is there any
other
reason?
Good question. One asnwer lies in the H word: historically.
Historically, tablature was the most efficient way to put polyphony
on a single staff.
on the dichotomy of sacred vs.
secular. Perhaps in fact ALL ascending lines represented man
reaching up to God, and ALL descending lines bespoke God reaching
down to us. What do you think? Any ideas? Reply to me off-list if
you wish, as this is not exactly lute-related.
Thanks,
David Rastall
On Nov 6, 2006, at 11:29 AM, Eugene C. Braig IV wrote:
...Martin fans tend to trivialize or quaint-ify
the shop's early guitars with the parlor moniker.
I don't understand the stigma attached to the word parlor. Can
someone enlighten me please? Romantic guitars were mostly played in
the
On Nov 6, 2006, at 5:50 PM, Eugene C. Braig IV wrote:
...I may be wrong, but too often parlor seems to imply quaintly
obsolete
to fans of the modern steel-string.
Okay, I can see that. Just as the idea of the parlor itself is
quaintly absolete today. Sort of like lounge music or
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