snip
I don't have the OT-120, but its predecessor the MT-1200
snip
The MT 1200 is programmable, and has octave stretching (for pianos
and some fortepianos).
The MT1200 is more accurate than any of the Korg models. It is truly
good to half a cent, which is pretty good. However, due to the input
I'm assuming you are referring to Thibaut IV,
Count of Champagne King of Navarre.
One of the most fascinating and talented of the
trouveres. Descended from Eleanor of Acquitaine.
The poem Robert, veez de Pieron, if that is what
you seek, is considered a retroncha because of
the the refrain
I think it is easier on the archlute :)
dt
At 03:27 PM 7/27/2008, you wrote:
I enjoyed your recording very much. Why no transcription for
baroque lute? Doesn't it fall well on the fingerboard?
Damian
My arrangement of the Bach prelude from the cello suite in D minor is
available as a free
Message-
From: David Tayler
[mailto:[EMAIL PROTECTED]mailto:[EMAIL PROTECTED]
Sent: Saturday, July 26, 2008 5:06 PM
To: lute-cs.dartmouth.edu
Subject: [LUTE] Bach prelude MP3
My arrangement of the Bach prelude from the cello suite in D minor
is available as a free download
http
Dan Heartz is an accomplished lute player.
dt
One thing to bear in mind is that no musicologist of that generation
actually played the lute. Playing transcriptions of the music on
the piano might give one an overall sense of the music but the
'sound world' of the instrument makes a
My arrangement of the Bach prelude from the cello suite in D minor is
available as a free download
http://www.voicesofmusic.org/DT%20Prelude%20MMB.mp3
Tab will be up hopefully early next week arranged for 7,8,10 c lute
and archlute
dt
To get on or off this list see list information at
is well, it most likely is a
CPU?graphics subsystem issue.
Sometimes, there is also an issue at the server side. Just slow.
dt
At 11:36 AM 7/23/2008, you wrote:
On Jul 12, 2008, at 12:37 AM, David Tayler wrote:
You can see the results here for comparison, with the caveat that
this was a very dark
Dowland's lute is discussed in my dissertation, I basically came to a
similar conclusion, although your work is much more detailed, and
goes more into the stringing.
Simply, I theorized (mind you this was twenty years ago, now) that
there were essentailly two lutes, a seven and a nine.
The six
Go Rob!
w00t!
dt
At 05:34 AM 7/23/2008, you wrote:
Daniel Shoskes has added quite a few Barto/Weiss/Reusner videos to the Vimeo
site: http://www.vimeo.com/Francesco
- as well as his own performances of Lauffensteiner. All well worth a look
and a listen.
There are now 136 lute and early guitar
There are a significant number of pieces with introductions, such as
I saw my lady weep In darkness let me dwell, and, notably, John
Daniel's setting of his brothers tryptich Grief keep within, to
name but a few.
An analysis of the extant introductions, in which the music is
through composed
Galliard no 14 in Francisque, which is not in Poulton, is one of
Dowland's more interesting pieces.
I don't believe it has been recorded--perhaps Rob will be the first
and put it on his site :)
Perhaps someone recorded it--I did a search at some point
It is for 7c lute.
dt
To get on or
Rob is correct--there is a very interesting use of the 7th course to
provide an alternate fingering for the low B Flat for voice leading
reasons in the third strain.
Quintessential Dowland.
So ideally it could be played on an eight course or a nine course.
Very intriguing; hat tip to Rob, well
Francisque
took and wrote a galliard on it. Does that make it a piece by
Dowland?
Of course, Diana Poulton knew of this setting - see her biography,
pp 62, 289 and 489.
It is well known that David Tayler doesn't accept the Holmes
manuscripts or Variety as reliable sources for Dowland's music
Rainer has raised the point as to why one would include a piece in
the Dowland Canon without attribution.
It is a good question. let's take a quick look.
It turns out many works by Dowland have no attribution. And this is
true for many composers.
In The Poulton/Lam edition (CLM) No. 60 is a
I'm sure he preferred the sound. Whether he himself, or others,
adhered to the instructions religiously is another matter.
He certainly qualifies as an expert.
dt
At 10:43 AM 7/22/2008, you wrote:
Does it have anything to do with The Orbo? (cf. Kapsperger)
Peter Nightingale [EMAIL PROTECTED]
I think Peachy falls into the very picky category. Hard to ignore
the first responders.
dt
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
on and on.
Even the odd angle of holding the lute with the neck pointing down to
the floor.
It was an age of freewheeling diversity.
dt
At 08:46 PM 7/22/2008, you wrote:
On Jul 22, 2008, at 5:29 PM, David Tayler wrote:
I think Peachy falls into the very picky category. Hard to ignore
the first
There's a couple of ways to go. The skippy part is not always the
contratenor part, but you can pick the skippiest part, for sure.
These are the combos I use most often
Two lutes
Two vielles
One lute, one vielle
One vielle, one lute (joke)
One lute, one harp--here the lute takes the part with
I would not say that the tip of the finger controls the tone so much
as that if the tip curls in at the wrong moment it will ruin the tone.
If the tip merely follows the fingers and remains flexible, the tone
has a much better center. The tone does not start with tip, I think.
The wrist is also
Here's the arrangement, kinda tricky because of the strange harmonies.
It is in Fronimo as well as pdf as well as notes, in addition to both
modern and renaissance flute, the top part can be played also on lute
or recorder, so it can work as a lute duet as well.
http://tinyurl.com/5sp5tm
Since
If you email a pdf, or better yet a fronimo or midi file of the music
I will make an arrangement for you and your daughter.
dt
At 01:34 PM 7/14/2008, you wrote:
Greetings,
My 12 year old daughter has recently been looking at the various Lute
pieces that I have got and has taken a liking to
? :-)
Arto
On 7/15/2008, David Tayler [EMAIL PROTECTED] wrote:
If you email a pdf, or better yet a fronimo or midi file of the music
I will make an arrangement for you and your daughter.
dt
At 01:34 PM 7/14/2008, you wrote:
Greetings,
My 12 year old daughter has recently been looking
Since my last survey, youtube has upped the ante by offering not only
bigger uploads, but also the ability to switch between high quality
and low quality.
Obviously this is a reaction to two things: sites like vimeo, that
offer 720p pseudo high def, and the prevalence of the h264 codec,
which
It's a great pic. let's be thankful that there are so many great pics.
But what I like is the Thumb Middle It is so present, so real.
dt
t 09:27 PM 7/9/2008, you wrote:
There are so many things to appreciate and
wonder about in this painting. The hands look so
natural you can see the chord
The string representation is a curious feature of
the work, since so many of the details are meticulously recorded.
However, it is unikely that they are single and
one end and double at the other :)
There look to be thin traces of the pair in one
of the right hand details, but not the other.
An
This is kind of a cool lute.
Renaissance, circa Capirola, very, very large. Table position
The thumb is in the very popular thumb middle, neither particularly
inside the hand nor stretched out.
Left hand in cruiser position.
Box for spare strings?
http://www.nga.gov/cgi-bin/tdimage?object=90793
Playing Lumsden from keyboard notation definitely a must. This one
book will give you a wide range of experieince applicable to lute
solos, lute songs, consort music and especially continuo. The
transcription system was the most progressive of its time.
It is a very convenient benchmark. If you
This is a very difficult situation that you describe.
I think the question to ask yourself, is where exactly you a are
going in your studies. Because ultimately, the instrument you
describe is going to hold you back.
Another point to consider is why the instrument is in its current
state? What
A lot of people use the Korg OT120, myself included, and it is a good
buy for a lot of reasons.
You can tune in an orchestral setup, with a lot of ambient noise.
It does have some drawbacks, specifically the lack of ability to
program a temperament. For example, I use Neidhardt, Ordinaire,
Welcome to the FlyFoot club!
dt
At 03:43 PM 7/5/2008, you wrote:
Hi folks,
I just glued (actually loktited) a tastino under two courses of my
soprano lute in d. And now I have wonderful G# and C# in the 5th and 4th
courses, 1st fret. And that is great. Tastini strongly recommended!
The
Beautiful.
dt
At 05:13 PM 6/30/2008, you wrote:
I have added about a dozen of fascinating iconographic titbits at
http://torban.org/mamai/index.html and the succeeding pages.
Enjoy,
RT
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What software?
Are you using press output in the settings?
Backwards compatibility turned on?
Compression turned off for fonts and graphics?
dt
At 12:07 PM 6/30/2008, you wrote:
Dear All,
I downloaded some PDF files of The Weiss London Ms which I wanted to get
printed professionally. I checked
Playing from tablature can easily be done without knowledge of the
polyphony, ornamentation and voice leading.
It can ALSO be done while seeing all these things--this is Lute DSP
Thus, one can easily apply the correct ornaments to tab, as well as
transpose up and down a tone or a fourth, and
However, tiny hydrogen powered taxis existed in mini black holes for centuries.
dt
On Jul 1, 2008, at 12:38 AM, LGS-Europe wrote:
I don't fly much, but when I do I prefer an extra seat for the
lute. This instrument in its case is just under 140cm, the other
one over 155cm. Size matters in
Consider a dual purpose instrument.
An archlute, or a 9 course or 10 course can be
dual setup to play in French tuning, either with
double strings (archlute) or single strings (9 or
10 course) as well as the original tuning.
You can also setup the archlute to play in single
and double, old
I'm surprised he did not mention that among his many talents, Bach
was a piano salesman. salesperson.
dt
When Donald Grout visited my college when I was a student, someone
asked him about playing Bach on a piano. His answer: if it is worth
doing it is worth doing badly.
That still cracks me
My French ensemble performs often at 370, this includes specially
made keyboards, winds and strings, plus large lutes at 370, which can
be considered french pitch along with super low pitch of ~340.
Good evidence for both pitches from historical keyboard instruments,
but other pitches must have
Why is the neck on the archlute so long?
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On the simplest level, this is about consonance and dissonce.
Most people play French baroque music as consonance, but the
extraordinary length of the ornaments, when played properly, make it
dissonance.
It is the most dissonant music in early music; which makes it, to my
ear, both unusual and
In order to reach the food at the tops of the trees.
dt
At 05:46 PM 6/28/2008, you wrote:
Why is the neck on the archlute so long?
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in decapitation of the said
archlute by the ceiling fan.
Yes, I speak from personal experience. Sigh.
Edward C. Yong
[EMAIL PROTECTED]
On 29 Jun 2008, at 8:46 AM, David Tayler wrote:
Why is the neck on the archlute so long?
To get on or off this list see list information at
http://www.cs.dartmouth.edu
bass can have the exact same harmony in France as an Italian
one, but the sauce is different.
dt
At 01:08 PM 6/19/2008, you wrote:
This is all truffle sauce, but it tells you nothing about the wild
boar underneath.
RT
- Original Message - From: David Tayler [EMAIL PROTECTED]
To: lute
ones didn't learn French style from books, afterall.
Chris - prepared for time travel.
--- David Tayler [EMAIL PROTECTED] wrote:
That's a terrific question for which there is no
easy answer.
Here's a few basic starting points:
1. It is different at different times--don't
conflate
Nice video, cool ornaments; beautiful sound.
dt
At 08:03 AM 6/20/2008, you wrote:
Two pieces from the Rowallan ms, the weird Gypsies Lilt, and the beautiful I
Long For Thy Virginitie. Looks like I need my eighth fret tightened...
http://www.vimeo.com/1204178
Rob
--
To get on or off this list
Gee what an annoying chord that is.
I have seen people play all four strings, that is two courses, with
the tip of one finger.
My finger is not wide enough.
I accept this as more or less unchangeable, unless I go to a really
narrow spacing.
Thanks for the lovely edition.
dt
Stephen Arndt
Both keyboard instruments with split keys and fretted instruments
with extra frets (either full extra frets or tastini, as both
existed) are able to play the enharmonic shifts.
All is possible; not all is desirable.
I think what one sees in the adjustments to instruments is that full
I have been using David van Ooijen's system for some time now and it
works perfectly.
I have bent and moved the frets to get the best measured result, not
the best theoretical result.
This was interesting because it shows that any scheme to place the
frets MUST be altered to the instrument and
That's a terrific question for which there is no easy answer.
Here's a few basic starting points:
1. It is different at different times--don't conflate the different genres
2. Inegal is the most misused and most misunderstood. Read the
original sources, don't rely on secondary sources.
At a
:
This is all truffle sauce, but it tells you nothing about the wild
boar underneath.
RT
- Original Message - From: David Tayler [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Thursday, June 19, 2008 3:59 PM
Subject: [LUTE] Re: French Style
That's a terrific question
Telemann uses sequential development all the time
http://www.vimeo.com/706605
French music uses sequential development as well, though it is used
differently than Vivaldi.
dt
At 01:20 PM 6/19/2008, you wrote:
Telemann's eschewing of sequential development was alone sufficient
for him to
- Original Message - From: David Tayler [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Thursday, June 19, 2008 4:38 PM
Subject: [LUTE] Re: French Style
All the things on this list are uniquely French; they give the music
the character.
For French music, the truffle
Jean-Marie is of course absolutely correct that
there are contemporaneous accounts advocating
various distinctions and even clashes of the
differing temperaments for keyboard and fretted instruments,
and there were at various times accounts that
these clashes were good or necessary.
However,
I don't think the evidence is thin: I think the evidence is
substantial; however I consider the weight of the evidence to show
that the practice was uncommon--but important, worth debating.
In other words the thinness is in the number of people who
practiced the technique, rather than in the
Very interested in trying them,
has some years ago and they were great
dt
At 11:37 PM 6/16/2008, you wrote:
Dear collected wisdom
I'm looking for the address (mail or electronic) of Peter Rea and
Margret Caley. They live somewhere in Australia and made experiments
with silk strings with great
I enjoyed the Gaultier very much, thanks.
dt
At 02:55 PM 6/15/2008, you wrote:
Dear Friends,
welcome to our new website www.luteduo.com
It is still being developed. Any feedback welcome:)
After many collegues asked, we started to offer some duo Bach scores there.
Warmest wishes, Anna
yet tried them on
early European instruments. BTW, he feels the original cats of
catgut strings were caterpillars.
Best,
Chris.
David Tayler [EMAIL PROTECTED] 6/17/2008 3:16 AM
Very interested in trying them,
has some years ago and they were great
dt
At 11:37 PM 6/16/2008, you wrote:
Dear
I may be crazy, but my baroque mandolin works
very well in meantone, owing to the
open E string and open B string.
On my theorbo and Mandora, a few well placed
tastini and everything is good to go, but
the six course mandlin tuning works without the
tastini, and sounds very nice on theorbo or
The casual reader might mistake Sleep stay awhile for Donne, though
the opening is similar, it is not Donne.
So so, leave off has one or two very minor differences from Donne's
text, such as changing ask'd to ask. as well as the usual orthograhic
confusion
of soules and selves.
dt
At 03:45
This is a nice window into the composer's world
http://tinyurl.com/57
I love all q's in the tiny url.
It also hints that figured bass may have arisen from a counterpoint tutor.
Why not?
dt
At 02:37 AM 6/10/2008, you wrote:
On Jun 9, 2008, at 6:46 AM, Stewart McCoy wrote:
Many thanks
There were the wax tablets, but it seems likely that there were
multiple systems for compositions.
Sketches on paper show, obviously, that paper was used for sketches.
These systems could have been used in combination
Surely the keyboard was used by many composers
Dowland most likely composed for
On Jun 6, 2008, at 7:45 AM, David Tayler wrote:
I take the quill and iron it with a heavy iron, then shape it.
I prefer a slightly rounded tip.
It's the only thing I iron, really.
You can also cut a piece of delrin and glue it to the feather, in
that case, you need not iron it.
It is sort
I take the quill and iron it with a heavy iron, then shape it.
I prefer a slightly rounded tip.
It's the only thing I iron, really.
You can also cut a piece of delrin and glue it to the feather, in
that case, you need not iron it.
It is sort of permanent press.
There are a number of other
Exactly--
the distinction is a modern one, the historical one
semi-interchangeable based on time region.
The only way to define an archlute as distinct from a theorbo is to
ignore the myriad historical examples where the terms are used interchangeably.
This distinction is similar to calling
Forlorn hope is possibly a musical pun drawn from the text of
lacrimae, where the the two cadences under the words forlorn and hope
in the song pivot a half step apart, and settle a half step apart, as in
mi fa morire of lasso vita mia.
dt
At 03:10 AM 6/2/2008, you wrote:
This has been
Although there are scatterred references to the numbering of the
layers in the Elizabethan period, I think the phrase seventh heaven
derives more from the Islamic and Cabalist traditions.
dt
At 05:45 PM 5/31/2008, you wrote:
On May 31, 2008, at 6:25 AM, [EMAIL PROTECTED] wrote:
At least in
Strumming:
If we think of it; they thought of it.
Whether they liked it or not is hard to say.
Perhaps the answer lies in the distribution of table tennis rackets
(or bats).
For example, people debate whether seven courses were used early on.
And the confusing thing, is that the pros must have
I think the idea, pioneered by harpsichordists, of scaling may well
be true, although there are still some uncertainties in my mind,
particularly in regards to notches of various types, but also in
regard to paired instruments, or trios and quartets of instruments.
Assuming that tone apart held
I think that in a specific way, it refers to the many types of
diagrams showing the celestial order, many of which are reprinted in
the untuning of the Sky by John Hollander, and obtusely referenced in
Spitzer's classic text,
Classical and Christian Ideas of World Harmony.
In a general sense,
Lutes have dynamics to my ear. When I practice, I play the same
passage a different volume levels.
Lutes can also say the words, but this is difficult to describe,
though easy to demonstrate.
Normally I start by memorizing the poem, then reciting using
rhetoric, then I practice making the
Thanks Rob
dt
At 04:45 AM 5/30/2008, you wrote:
With more people appreciating the audio and visual quality of the Vimeo site
over YouTube, I've created a Vimeo Channel - one page bringing together all
the Vimeo videos with lutes and early guitars. I urge all those of us who
have videos to upload
Most people play on the consonant, not the vowel--play on the vowel.
Play polyphony, not chords.
Learn the words and make the lute match the rhetoric.
dt
R
--
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
All of Dan's musicological work is of the very highest quality, including
transcriptions concordances. In addition to being an accomplished musician on
piano, he was playing the renaissance lute in the 60s based on an actual museum
copy.
The books often contain information--including
That's hilarious.
It is easier to use than the one I pay for. How funny.
dt
At 01:34 AM 4/15/2008, you wrote:
Dear everyone,
I just stumbled upon this URL: http://phonoarchive.org/grove/
--
Mathias
To get on or off this list see list information at
Congatulations, Rob--
I look forward to reading it.
dt
At 09:08 AM 4/15/2008, you wrote:
It is also available in the UK here:
http://www.earlygaelicharp.info/emporium/books/porter.htm
It also has a chapter on the Panmure collection.
Rob
--
To get on or off this list see list information at
A good rule of thumb is to phrase to the long note and hook the short
note to the long note (no gaps)
--for renaissance, of course--
then adjust by ear for a cross accent if you wish.
mss sources tend to suggest a prototypical coulee/pointee
hierarchy as well, especially in divisions. I favor
I always like to joke that in 40 years I have never played with a
baroque cello, because of the instrument, bow, bridge, bass bar, size
and of course, the strings.
Last week I played with Elizabeth Reed, all gut strings--four of
them, no metal crimping, winding, etc,
with the proper
differences are mentioned in the Severinus
introduction, and more detail (e.g. including differences in
spelling of
the titles) is given in the Fretwork edition.
Best wishes,
Stewart McCoy.
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED
in the Severinus
introduction, and more detail (e.g. including differences in spelling of
the titles) is given in the Fretwork edition.
Best wishes,
Stewart McCoy.
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: 03 April 2008 06:39
To: lute
(e.g. including differences in spelling of
the titles) is given in the Fretwork edition.
Best wishes,
Stewart McCoy.
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: 03 April 2008 06:39
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: Dowland's Books
I think
Possible a basse dance variant of Roche?
odd that it is an allemand as well as a galliard
dt
FusoAt 07:28 PM 4/3/2008, you wrote:
- Original Message -
From: Denys Stephens [EMAIL PROTECTED]
To: 'Bernd Haegemann' [EMAIL PROTECTED]; 'LuteNet list'
lute@cs.dartmouth.edu
Sent:
I continue to hold the unpopular view that the eight course may
slightly slow musical development: If you have any interest in
continuo, the non linear bass is a hurdle, and if you wish to play
10c, archlute or theorbo,
the course memorization for the bass courses is slowed a bit: you
have to
They have a very good resale value :)
dt
At 07:47 PM 4/1/2008, you wrote:
Do you guys like Larry Brown's lutes? im looking at his Venere G Lute 8c.
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44.1 and 48 are not twice the frequency of human hearing, that
distinction is reserved for 88.2 and 96.
The Fostex is one of the best flash recorders, it had better preamps
and converters than the competition, its only drawback is that
headphone amp is a little cheap, but that in no way
I don't recommend 8 courses
9 courses would be a good choice for Dowland
7 and 9 would cover almost all of the pieces you mention, and is
better for the very early Dowland pieces, plus the chromatic pieces.
Isn't there a Star Trek character named 7 of 9? Surely it is a sign.
I think the 9 course
...
Grant
On Wed, Apr 2, 2008 at 9:08 AM, David Tayler [EMAIL PROTECTED] wrote:
44.1 and 48 are not twice the frequency of human hearing, that
distinction is reserved for 88.2 and 96.
--
~~~
Grant Green - www.contrabass.com
Heckelphone, Sarrusophone
Why play a single manual harpsichord, when two is more?
It is a good question, is there more essential lutiness in a niner?
I think so. but that is subjective.
Historically, you can argue pretty persuasively for 9, but there sure
were ten course instruments as well.
Also, is a good 10c better
I think there are only two of LOST
Lachrimae or Seven Tears,
each different.
dt
At 02:37 PM 4/2/2008, you wrote:
Here is the OMI list. They have all the books of ayres, plus
other things.
http://www.omifacsimiles.com/cats/lute.pdf
I may have mentioned this. The third boook was offered for
The same video in higher resolution
http://youtube.com/watch?v=lEyk0jOIagwfmt=18
Nice playing!
dt
To get on or off this list see list information at
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64 is a bit long in the tooth for 440.
You can get the gut up to pitch barely but it is a stretch.
But if you want it for Dowland, F is very good both singer and solo wise.
The tessatura of the songs is such that a significant number phonate
better at 392,
although some of the nice ones lie low,
I've been experimenting with the youtube setting for people who want
to share lute videos.
Basically, the upload limit is now way larger, so you can upload a
higher resolution file--bigger file-- and get somewhat better results.
Also, if you go to your account settings for youtube, and go to the
Well, my example was really to show how tricky attribution is.
But you can dig a bit further.
In this case, you can go by the Grove, but the
Grove is not really an authoritative source in
that it is a secondary reference. Yes, we all
read it, but it is a bit like Trader Joe's as well.
The real
It is a favorite pastime to say pieces are really not by X,
and it is easy because, when you come right down to it,
in the renaissance there is no real way to prove anybody wrote anything.
People argue whether Shakespeare existed.
You can't go exclusively on attribution, because they are often
their own.
Best,
Benjamin
On 29/03/2008, David Tayler [EMAIL PROTECTED] wrote:
It is a favorite pastime to say pieces are really not by X,
and it is easy because, when you come right down to it,
in the renaissance there is no real way to prove anybody wrote anything.
People
Chavez Symphony Orchestra;
Fernando Lozano, conductor.
Click on the CML link here
http://mysite.verizon.net/arthurjness/
===
- Original Message -
From: David Tayler [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, March 29, 2008 3
Geez that was completely garbled. Obviously I need to adjust my meds,
what I meant was
I would never mean to imply that Arthur Ness' knowledge of anything
is less than truly stellar in all respects.
And also, the Francesco book is my favorite lute book.
dt
To get on or off this list see
I've been using redwood for the core and long neck: light, strong,
humidity resistant, and no termites.
At 03:21 PM 3/29/2008, you wrote:
That's a fine instrument, indeed.
What are the timbers used?
Kingwood for the bowl and beech for the neck? Or does the neck has a
pine core?
The neck
Re Magnatune
Magnatune gives half of the sale, net, to the artists.
This is a good thing!
Plus, they invite you to give away a few free copies, which may seem
strange, but it also a good idea.
dt
At 07:52 AM 3/28/2008, you wrote:
I have never had a single problem with Magnatune or Emusic or
them to the list!
Peter
On 24/03/2008, David Tayler [EMAIL PROTECTED] wrote:
I think the advantage to putting this info online, not just for
musicologists with Case X access (the x files),
is for the average musician/voice student who has ben fed dreadful
versions of pieces--
pieces
That sounds like a great and important resource, I would be happy to
host them either on my site or the new Lutes West site.
You can send them to me using yousendit if you like, it is a free ftp service
Also, if you upload to yousendit, the files will be available for
anyone on the list for
It is beautiful, but the double bass sounds very modern to me,
especially the heavy octaves.
But the 16 foot on the harp is exquisite.
I would like a little more lute in the mix :)
dt
At 04:58 PM 3/24/2008, you wrote:
http://www.youtube.com/watch?v=45Z3D4c8KWI
Beautiful piece from a reliably
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