Thanks Arto
Especially the webcams from Rovaniemi are great! I was there once myself, in
Summer without the snow. Should go back in Winter, it appears.
David - back from playing a concert with Christmas music from Andalucia,
something quite different!
- Original Message -
From: Arto
Anthony
see the Korean national theatre production of Le Jeu du Kwi-Jok ou
..
performed, was nothing other than outstanding.
Thank you for a wonderful review, wish I'd been there. I saw a Korean
traditional group dance/perform a traditional piece once: spectacular
dances. Makes the would be
Awesome...anybody got that for 8 course Lute...i play that as part of
my
Neil
Find it attched as a pdf-file. I made it to woe a teenage lute-student pupil
some years ago, he's gone over to guitar by now. Though still with me. It's
for 6-course, and it's an arrangement that includes the
I've been asked to play for Buxtehude's Membra Jesu Nostri next March,
accompanying a chamber choir and a quartet of string players. I haven't a
Theorbo, but would an Archlute be inappropriate? It's a large Harz-model,
so
it's pretty loud...
I haven't seen the music yet, but would it be
Alcohol!
David
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]; bill kilpatrick
[EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, November 01, 2006 11:53 PM
Subject: [LUTE] Re: cleaning
How do I clean my mouth?
ed
At 05:48 PM
- Original Message -
From: Rob Dorsey [EMAIL PROTECTED]
To: 'LGS-Europe' [EMAIL PROTECTED]
Sent: Saturday, October 28, 2006 3:51 PM
Subject: RE: [LUTE] Re: Frei body renaissance lute
Sir,
I take the greatest exception to your comments. Poor customer indeed? In
the configuration
Rob
Yes, I reckoned you would post it to the list. By doing so you confirm my
impression.
A jerk with a lute is still a jerk.
Lighten up! No need to get rude. I have no problem with you. I wrote about
the undesirability of a 65cm g' lute in 440 and the relationship between
lute maker and
There's a SPES facsimile. Not expensive, beautiful, excellently legible,
worth your while.
David
- Original Message -
From: Herbert Ward [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Friday, October 27, 2006 2:27 PM
Subject: [LUTE] Capirola's Balletto.
How does one find a copy
Well said. Of all my lutes, the bigger ones sound better and play more
easily for most music. But with current adherance to 440Hz (and even higher
in modern ochestras) a small lute is a neccecity for those who want to play
in g'. The standard of a g'-lute of 59cm is a modern one borne out of
Cracow Lute Book: finger-breaker, risky stage music, great for practicing.
I
especially like the fantasias: wonderful, first class polyphony.
Hear, hear! I remember years ago playing in a lute quartet. We used to play
a Bakfark 4-part fantasia on four lutes. Suddenly it became non-risky
Mark
Let's do something positive in stead of complaining about other people's
well-meant recording of music we love. After listening to the first MP3s on
the net my initial reaction was like yours, but when listeing to a better
audio quality I actually liked it. Well-done to the two of them,
Luca
I was more lucky and received my book within a week.
David
- Original Message -
From: Luca Manassero [EMAIL PROTECTED]
To: [LUTE] lute@cs.dartmouth.edu
Sent: Tuesday, October 17, 2006 1:16 PM
Subject: [LUTE] Jakub Polak
Jakub (Jacob Polonois) Polak
Collected Works
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Francesco Tribioli [EMAIL PROTECTED];
lute@cs.dartmouth.edu
Sent: Friday, October 13, 2006 10:05 AM
Subject: [LUTE] Re: Too soft to live
called standard a=415Hz, hasn't him? Chanterelles cannot be thinner of
0.38mm, more
Dear Davide
Some makers have one or more 'spare' instruments they are willing to rent to
you, as do some teachers. If all fails, tune the third string of your guitar
a half tone down and start playing tablature now! That's how I started
anyway.
David
- Original Message -
From:
I can certainly appreciate refinement of tone and
delicacy of touch. The lute responds well to this -
in a small room. But there are places (i.e. a large
room) in which being SO incredibly sensitive is
downright inappropriate.
So perhaps the room is inappropriate for the instrument. I tend
How did you fare with your flightcase? Any experience yet? I went by car to
England to weeks ago, just to avoid the airports with my lute. Lost a
night's sleep driving back, but at least my lutes (and arm) are all in one
piece still.
David
- Original Message -
From: Benjamin Narvey
I am also not a judge to stand over them, he can do what he pleases, I am
more interested in the reaction of players and listeners to this whole
thing as a
way of seeing where lute playing is at the moment. The CD disqualifies
itself
at least to my ears through musical and not authentic
There is a basic keyboard-style realization of the thoroughbass in my
edition, pp. 30-34.
For a citation of the book, see:
http://ace.acadiau.ca/score/gjc/home.htm#CallonSchol OR
http://www.severinus.co.uk/edittext.htm#lanier
It may be in a academic library.
And in mine. Comes
For those interested, I have a box of Terzi cds here, so I can send you one
for 20 euro (pp included).
I have PayPal on my other email address, and don't mind cash-in envellop
either, so contact me off-list.
David - wishing he would get as much publicity as Sting
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread
with
the Enlightenment movement to include lutes and theorbos played in
northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
David
To get on or off this list see list
Just found a very interesting interactive educational website dealing with
tuning:
http://www.j2b.co.uk/tuning/index.html
Leonard
Very nice!
David
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Just one thing, does anyone else think that Stings comments mean that he
is
just doing his own thing or is he claiming to have the answer ?
Sting lives in another world than we, (hip) lutenists do, so I think you
should not take his comments personally whatsoever.
David
To get on or
For a museum with lutes theorbos, go to the Cite de la Musique (tube
station
: Porte de Pantin) info in english :
http://www.cite-musique.fr/anglais/accueil.html
Yes, don't miss it. They have a nice bookshop as well.
David
To get on or off this list see list information at
It is double strung, David. I saw it, played, and heard it.
Such a smooth and silken sound he makes on it! Well-done. How come the
Dowalnds sounds so ty? Must be the MP3 then.
David
To get on or off this list see list information at
If you look at the Air de Cours repertoire, you can
..
instrument in A - like a theorbo). Later editions use
a figured bass, but sections in which the bass plays
..
edition of these songs? I say that theorbo players
would most likely use the lute-tab version if it was
Would you? I
If you look at a manuscript like Add. Ms. 24665 (vocal part + unfigured
bass)
you see some things which may show that an early 17th century musician had a
slightly differant slant on things than we have.
There are 74 songs.
5 from Dowland
8 from Campion
10 from Robert Jones
2 from John Bartlet
I think the early music
movement is taken into the main stream classical musical world. That's not
a
bad thing, only confusing at times.
I think the better term might be assimulated.
Resistance is futile.
I think it has taken a lot of
the attitude and edge out of early music and are
Many here commented on and criticized the sound quality of Sting's clips,
perhaps believing they represent the actual CD's sound.
I guess that, as previews, they were made intentionally lo-fi. I hear a
'phasey' quality, compression and perhaps some EQ tweak. I guess they're
cinderellas. I
I think you have proved my point that the early music movement has lost
it's
profile.
I would agree, but as I said in an earlier posting, I think the early music
movement is taken into the main stream classical musical world. That's not a
bad thing, only confusing at times. Lute players are
upper strings 1-5 seem to be single. This is also the case on pictures of
the
other lutenist I have found on the web.
What does he use for his Kohaut concert?
Does he play baroque lute
The Bach-on-archlute (same guy) sounded very single strung to me.
David
To get on or off this list
I was just curious to know what the list folks could tell me about
the use of theorbo in performing English lute songs. But I was also
David
After the Dowland generation with their lute songs, continuo songs appeared
on the scene in England. Generally speaking theorbo's were used for that.
Karamazov has gotten into the big league
Since when is playing with a pop singer the big league?
David - wondering what league he is in ...
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
To get on or off this list see
What do you think... does Sting knows less about Dowland than M. Figueras
about Milan?
..
In my opinion, Sting offered another version, as many other in the market.
..
In any case, I wonder why people are being so hard with these two
Ola Ariel
I'm sure Sting knows all about Dowland, but
Opinions differ, as I think Schubert and Dowland are very close together.
Compare the worldviews of 19th century Germany and 16th century England and
I
think you will find little in common.
Wrong list, but still. Schubert is a world apart from Brahms, or Schumann
even. A Schubert song is a
Maybe Dowland is the nearest thing, but I think they are so worlds apart
and
when performing Dowland, Schubert as all composers that are later than
Dowland
are of no importance.
For my taste the formal nature of 19th century social life is so differant
to
that of Dowland that it
You say that the lute playing is below standard for Dowland lute songs?
What do you mean? Is there such a thing? Would you give me an example?
Accompanying Dowland is to move with the text. Forward, hold a litltle,
emphasis here, crunching chords on crunching words, purely instrumental
3. The subtleties of the current discussion on the lutenist's
interpretation here are lost on 99.999+% of the world's population.
That's why we keep this discussion to this list. If we want to get better at
what we do, playing lute, it's good to discuss our own and other people's
The whole notion of performance practice -- taking into account the
way the music would have been played when the composer wrote it -- is
mostly a 20th-century invention, and it took until the last quarter of
the century before it really caught on. Before that, old music was
played as if it
I think there is still a huge amount of the 19th century in early music
performance today both in playing style, but even more in presentation.
Maybe one of the reasons that a lot of early musicians seem to eager to
perform romantic music is they feel more at home with the ethos of that
Richard Taruskin makes a strong case for this in his article 'The Pastness
of the Present'. Early music players play like non-motionaly involved
Stawinsky, not like romantically inclined Landowska.
non-motional sounds like an illness and even worse than the romantic
malady!
;-) Nice typo!
stravinsky literally writes: What is important for the lucid ordering of
the
work - for its crystallization - is that all Dionysian elements which set
the
imagination of the artist in motion and make the lifespan ripe must be
properly subjugated before they intoxicate us, and must finally be
All the attachments mentioned in the mail are available for those who need
them. Just send me an email. Better still, contact the address below.
Subject: Kaminkonzert in Walstedde am 30.09.2006
Sehr geehrte Damen und Herren,
liebe Freunde des Haus Walstedde,
Haus Walstedde kann auch ganz
playing, but I would get an all-around better instrument that would serve
all purposes, so something in g would work best.
Absolutely. And if _small_ size matters for you, try and find a lute of 58
to 60cm tuned in g'. That is smallest for g' in 440, still practical. 64cm
will get you into
So, people, some suggestions for some really captivating pieces, please!
Dear Arne
The collection of 3 and 4 part songs by a.o. Cornysh (Brown 1530-6), with
titles that stirr the imagination:
By by
She may be called
My love mournyth
Pleasure it is
Beware my lytyll fynger
So great unkyndness
For an upcoming proramme with a singer I am looking for lute songs, continuo
songs and guitar songs about food and drink. I don't mind arranging. Period
doesn't really matter. All I can come up with so far are some airs de cour
(Qui veut chasser une migraine and the unavoidable Tourdion - Quand
Dear David
question is: which is more important to the production of a full,
substantial theorbo sound...long playing length, or a large body? Or
is it a combination of both?
For theorbos it's simple: bigger is better. Big body, long stopped strings,
long diapassons. You want to have big,
anachronistic choices for much
of our repertoire. Food for thought. Perhaps the
time has come for us to
specialise into even narrower niches.
David
..Or perhaps we worry about instrumentation far too
much. By and large, these seem to be minor concerns
that only trouble us, the lute
article by Benjamin Narvey in the current LSA Quarterly entitled Galant
Continuo: Towards an Informed Approach to Accompaniment in the Accord
Nouveau. It is a good read and the idea is to me, being strictly a
baroque
lute player in Dm tuning, both logical and attractive. All of the continuo
In Wolff Heckel's Discant Lautten Buch (Brown 1562-3) is a piece called:
Si la fortune
added to that in Gothic type:
Künigs von Frankreichs Lied.
Anybody knows what the connection to The King of France might be? If you
don't know the piece, I can send you a pdf. (Don't worry, I've put it in
daunting, e.g. Fantazja XVII is in A flat minor (what you get when
you drop a piano down a mine shaft), with a block of flats at the
beginning (six altogether).
Seven, even! The next fanazja has 'only' six flats.
Reminds me of Francesco's libro secondo of 1536. I was playing through the
From the French Lute Net: a website where you may buy the collected
works of Polak for a mere five euros:
Make that 26,95 including shipment ...
David
http://www.pwm.com.pl/szukaj.php?sp=tcon=tphr=ttryb=prostepoile=
20keywords=autor=Polak+Jakub+%28Jacob+Polonois%29grupa_sz=0szuka
So fixed frets would have been fine for most
lutes, actually. Like on citterns and bandoras. And why do these
instruments
have fixed frets? Because they have metal strings?
Guitars, metal frets and all, used gut strings until after World War II.
My argument was about gut bass strings, a
of
the guitar and its tone production kindly brought to our attention by
someone else on this list (I forgot who! shame on me) said it quite clearly,
too.
David
- Original Message -
From: Alexander Batov [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Cc: LGS-Europe [EMAIL PROTECTED]
Sent
Dear Rebecca
Tied frets are moveable and replacable. Fixed frets are not. If your want to
move your frets to change your tuning slightly: go for tied frets because
you can move them. If you're a player that likes to have some control over
the distance between strings and frets, go for tied
The quest is for ARTISTS who were also practicing musicians, not the other
way around.
Hieke Meppelink, Dutch soprano/sculptor.
http://www.hiekemeppelink.nl/
David
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Really depends on bridge and nut, so it's a question of trial and error, I'm
affraid. First one so that it's almost, but not quite, buzzing. Then work
your way up. I try to keep the same diameter as long as it's ok, and then
move on to a smaller one. Taking the measurements of the old ones,
I made an instrument from an oatmeal box, a rubber band, and tape.
The sound was indeed much louder when the string travels perpedicular to
the
soundboard (especially the lower harmonics).
I repeated the experiment with a clothepin bridge (about 18 mm high)
between the string and the
vibrate in front of the monitor. Pluck, pull, strike
or otherwise
make the string vibrate. Anyone able to get it to
vibrate in a
parallel plane to the soundboard?
Stay with it, we just agreed that it's the initial direction of plucking
that does influence the attack of the sound. The best
Thank you, Charles, I'll shut up for a while and read.
David
- Original Message -
From: Charles Browne [EMAIL PROTECTED]
To: bill kilpatrick [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Cc: LGS-Europe [EMAIL PROTECTED]
Sent: Monday, August 28, 2006 12:42 PM
Subject: RE: [LUTE] Re: strings
What direction should the strings be plucked in for an optimum tone?
physics one. And if my answer doesn't satisfy you, I do apologise.
Dear Alexander
All these emails seem to misrepresent the intentions of the writers. Let's
start afresh. I am very happy with the response you gave me. It
It's for a 10-course lute in renaissance tuning (g'-lute). I'll put a list
of content and an sample page on the web. Should be ready somewhere this
afternoon. I'll be in touch.
David
- Original Message -
From: Edward C. Yong [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]; Lute
Fun music: lots of cross rhythms/hemiola etc.
There's an edition form the German Magazine Gitarre Laute:
G + L 148
Santino Garsi da Parma
Lautenwerke
Facsimile and modern transcritpion in guitar notation.
All the mss. sources combined into one book. Nice edition.
Before that there were
David
Let me not for pity more
Tell the long hours at your door
Let me not, for pity's sake, count any more the long hours at your door.
(Let
me in!)
The Fellowes' 'English madrigal verse' edition has interpunction making it
more clear:
Let me not, for pity, more
Tell the long hours at your
Chris
Well done! I'll tell all my Hurel-playing fiends and pupils, it's kind of
popular at the moment. What's your instrument and stringing?
David
- Original Message -
From: [EMAIL PROTECTED]
To: LuteNet list lute@cs.dartmouth.edu
Sent: Friday, August 11, 2006 10:56 PM
Subject:
Thank you very much for telling the history of your monumental FCdM
edition!
In my music analysis lessons we had to anayse many different kinds of music,
but our teacher was most fond of Bach. He was one of the men that wrote
_the_ book on Bach and numerology, concluding that you can read
Hoi Taco
What is __the__ book on bach's numerology? There are several ones, the
classic
'goedel, escher, bach' and another by tutlow/tatlow(?) come to mind.
'Bach en het Getal' by Van Houten en Kasbergen (De Walburg Pers 1985). It's
in Dutch, but here's an (OCR sorry for the mistakes) scan
Or would you believe this link:
interfaced to the Paladin AFCS via a. 1553. data bus and hard-wired test
points. Non-electronic subsystems are addressed. through various test
points, ...
Popular name, Paladin:
http://www.army-technology.com/projects/paladin/
David - not found was he was
Bruno
I have tried Aquila varnished strings: sharp sound, as can be epected with
varnish. Not so beautiful, then, but a little stronger. Oiled Aquilas my
friend has tried and he likes them. The oil makes them a little dull,
though, but also stronger, the oil is supposed to keep the frays stuck
All
I have an upcoming concert where I'm asked to play Dowland and 'something
from the Danish court after Dowland'. Any suggestions? I don't mind
arranging music.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
To
I think I'll be in that series 24 August. Flute, gamba, lute. See you then,
perhaps?
But I thought they told me something about a smaller venue. Don't expect 400
people to tun up to see me, anyway. ;-)
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
Sounds like it was it was a good concert to attend, nice programme, great
players.
I think I'll be in that series 24 August. Flute, gamba, lute. See you then,
perhaps?
But I thought they told me something about a smaller venue. Don't expect 400
people to turn up to see me, anyway. ;-)
David
Chris
about gut strings in the past: our gut is _not_ their
gut. (i.e. the exact same type of string that was
made back in the day.) Therefore, whatever you decide
I'd say that the gut strings of all the different gut string makers of
today, with their variety of products with quite
Ariel
I personally do not find strings material to be as relevant, but I do get
your point, and I like myself more the sound of gut that of synthetic, but
they're sometimes not as practical.
It's true, life is all a matter of priorities. I have come to a point in my
playing where I
Dear Daniël
I have build a Chitarrone of 14 courses and a stringlengh of 78cm and
160cm.
calculate what gauge should I use? What would be a good tension for a
Chitarrone.
Opinions differ on the required tension for diapassons, but for 160cm I'd
use something in the neigbourhood of 46N per
Kenneth
tune gut strung lutes with greater ease and more quickly than lutes
strung with
nylgut.
Yes, gut needs to be tuned perhaps more often than some synthetic strings,
but it is also easier and quicker to tune. My experience, too.
David
David van Ooijen
Dear Henner, and others
especially throughout for the bass strings ( 7th - 14th course) after trying
two gut strings I found in my stock. Gut bass strings are very expensive
and I think don't sound so much better that it is reasonable to pay so much
more. Only
Take a step back and think
Walter
dem daumen beruehret werden / wie aus folgendem Exempel zu sehen / im
fall aber eine solche mensur [\\] das ist ein sechzehentheil einer
ganzen noten ob inen stuende / alsdann so mueste solche Coloratur /
wegen der geschwindigkeit / nothwendig mit dem daumen und kleinsten
finger
Stephen
I presume you are referring to the translation in Varietie of Lute
Lessons (1610)? Besard's Isagoge was published four years later
(1614); what he translated was from the Thesaurus harmonicus (1603).
Indeed, all correct, although Besard's Isagoge in Artem Testudinariam is
even from
Jorge
In Castiglione's Il Cortegiano (1528), there is a passage where he states
that suitable instruments for the courtier are:
all fretted instruments...because they produce perfect consonances...,
In my translation (Penguin Classics) the Count says that the perfect
courtier should be
Dear Arthur
David, does the orchestra have two viola parts?
It's the concertino in F: two violins, crembulum (=jew's harp), 8-course
mandora in e' and basso.
There's one movement with what I feel to be an Austrian happy-dance like
melody, so I'll keep an eye on the audience there. The rest
This is what we at school called Vivaldi's telephone number. :-)
Hi David,
thanks a lot. I must have been ill when this topic was dealt with at
school ;)
514736251, to be complete. And all major seventh chords.
David
To get on or off this list see list information at
the village work the land without machines, drive with horses and every
Hoi Taco
Sounds a bit like the people that play with gut strings and use hide glue,
doesn't it. ;-)
David
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Any advice on how to keep a straight face for the 20 or so minutes I'll
have
to be on stage with this going on next to me will be much appreciated.
;-)
You could think about the plight of the folks (if any) who
will have to follow your act.
A friend of mine had a vision of all the folks
Rob
4. I know of no modern maker who glues on the bridge of his lutes with
hide
glue.
The makers I go to, do. Very convenient for bridge repairs if they come off
(I know what you are going to say) or need to be replaced.
David
To get on or off this list see list information at
Next week Sunday, at 11:00 in the morning at the Muziekgebouw aan het IJ in
Amsterdam, I am to play the mandora part in Albrechtsberger's concertino in
F for jew's harp, mandora and strings. (It needs a mandora in e', so I'll
use my d'-lute with capotasto.)
Once in a lifetime opportunity, so if
Dear Denys
I hope you do some more work on this - I would certainly be interested
to know what could be learned from it.
Thanks for the insights into your investigation. I am working on an article
for the LSA Quarterly which will touch upon this. But be patient, it's
growing without end in
style, a friend of mine said: A chord sequence of major dominants like E
- A - D - G - C - F was considered a typically Italian feature (and was
Hi Mathias
This is what we at school called Vivaldi's telephone number. :-)
David
To get on or off this list see list information at
I was always annoyed about the pop-ups they create
I didn't notice anything, so a pop-up blocker seems to work, then.
I enjoyed the pictures, anyway. I missed the lute when I was in Gent, so
thank you for bringing it to my attention!
David
To get on or off this list see list information at
I've never seen one of those before, very curious! I wonder if it could
be a family emblem.
http://www.belgiumview.com/belgiumview/tl3/view0004283.php4
The Dutch text on the website tells us a little, but not much:
The current front with all the terra cotta images is from 1669. The three
Looks to me like Gent, House of the Six Good Works on the Kraanlei, just
oppostie de Zuivelbrug and Dulle Griet.
David
- Original Message -
From: Bernd Haegemann [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, July 18, 2006 10:41 PM
Subject: [LUTE] lute, flute, stone
Hi!
While the Vihuela tablature CD contains a Windows based
navigational
application that's quite handy, all the pages are accessible as jpegs.
There are plain text indices to help you find what you need. It's
awkward,
but it works just fine.
I'm on Windows, and access the cd like
Well done! And thank you for sharing this with us.
David
As our physical CD Galante Lautenduette is nearly sold out we decided to
offer it free of any charge for download. It's compressed at 128 MBit so
the filesize per movement is about 1 - 2 MB. I'm trying to find a PDF of
the booklet
Isn't there a CD out of all the vihuela music in color? Where can I
find the CD?
The English lute society had it for sale, a while ago.
David
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
My overspun bass strings have begun to irritate
me by r---i---n---g---i---n---g for a long time.
Is there no little damper or such to make them more like
gut strings?
How about simply changing them for gut strings? Seems the easiest to make
them sound more like gut strings.
david
To
Dear lutenists, I have been very confused lately about the right string
tension for my lute. For a 8 course lute in g 59 cm, what would be the
avarage tension in kg? All the courses must have the same tension?
Have the patience to read all,
Thanks for the pics, really nice. And thanks for the impressions, I wish I'd
been there. Go for the ringtone!
David
- Original Message -
From: Daniel Shoskes [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, July 04, 2006 3:16 AM
Subject: [LUTE] LSA First impressions
I'm
You lucky bastard, it's a great aria! I've played just the aria with lute
once in a recital with a bass singer (arranged the orchestra score and lute
part all for one lute). I did it on d'-lute, one tone lower than the part,
which to me looked like it needed an instrument tuned like a guitar:
A word of caution concerning forcing tight frets frets too hard:
it
is possible to scar the neck with the knot (personal experience). Tying
the
Depends on the material of the neck. I have a lute with a rather soft neck:
scars, but unavoidable with tight frets, i think. The ones
I have made a pdf of the facsimile and the part of Apel's book that deals
with it, including Apel's transcription of the opening of the piece. All in
German! Those who want can send me an email.
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
I use a little mic that came with a Sony walkman from another decade. It
happened to have the right plug, and that's most important. ;-) Actually,
I'm quite pleased with the result. It's a Victor Super-directional
microphone MZ-110. But I suppose anthing similar that would come with a
discman,
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