of allowing numerous comparisons to be made visually
all at once.
rgds
Martyn
--- On Sun, 30/5/10, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [LUTE] Re: baroque mandolins etc--- tensions and kgs?
To: Martyn Hodgson hodgsonmar
, before losing oneself in bewilderment, one should pick up a
5-
or 6-course mandolino and pluck a few notes with the fingers. It's
not
so bad.
Best,
Eugene
- Original Message -
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
Date: Sunday, May 30
to be made visually all at once. rgds Martyn
--- On Sun, 30/5/10, Stuart Walsh [5]s.wa...@ntlworld.com wrote:
From: Stuart Walsh [6]s.wa...@ntlworld.com
Subject: [LUTE] Re: baroque mandolins etc--- tensions and kgs?
To: Martyn Hodgson [7]hodgsonmar...@yahoo.co.uk
Cc: Lute List [8]l
--- On Sat, 29/5/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Fw: Re: [LUTE] Re: baroque mandolins etc--- tensions and
kgs?
To: Lute Dmth lute@cs.dartmouth.edu, Stuart Walsh
s.wa...@ntlworld.com
Date
[tension/pye x density]/length x diameter
MH
--- On Fri, 28/5/10, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [LUTE] Re: baroque mandolins etc--- tensions and kgs?
To: Eugene C. Braig IV brai...@osu.edu
Cc: 'Martyn Hodgson
Sorry, I meant dear Stuart (!).
--- On Sat, 29/5/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Fw: Re: [LUTE] Re: baroque mandolins etc--- tensions and
kgs?
To: Lute Dmth lute
Not being a mandolino player I hope you don't object to me intruding
and commenting on Timmerman's (fine) performance and the volume he
generates from the instrument. Of course, since the piece is recorded
we have no real means of knowing the volume - for all I know it could
be as
)
at
0.32 mm. Because of limitations of the strings themselves, the g''
usually clocks ca. 4 kg. I go to ca. 3 kg on the others.
Best,
Eugene
___
From: Martyn Hodgson [mailto:[1]hodgsonmar
technique in italy 18th
century
To: 'Susanne Herre' mandolinens...@web.de, 'Martyn Hodgson'
hodgsonmar...@yahoo.co.uk, 'Lute List' lute@cs.dartmouth.edu
Date: Tuesday, 18 May, 2010, 14:55
Coincidentally, such mandoras have received some discussion here.
Those
italianate things
music and playing technique in italy
18th century
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute List
lute@cs.dartmouth.edu
Date: Monday, 17 May, 2010, 19:27
Thank you!
Sorry, but I can't understand why the instrument on the painting of
Faustina Bordoni should
music and playing technique in italy 18th
century
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute List
lute@cs.dartmouth.edu
Date: Tuesday, 18 May, 2010, 9:45
Sorry, I nearly don't know anything about the mandora.
When I look up in Morey - he writes that the mandoras
, Susanne Herre mandolinens...@web.de wrote:
From: Susanne Herre mandolinens...@web.de
Subject: [LUTE] Re: lute music and playing technique in italy 18th
century
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute List
lute@cs.dartmouth.edu
Date: Monday, 17 May, 2010, 11:27
be a longer discussion. But that
was happening here before...
Kind regards,
Susanne
- Original Message -
From: [1]Martyn Hodgson
To: [2]Lute List ; [3]Susanne Herre
Sent: Friday, May 14, 2010 11:00 AM
Subject: Re: [LUTE] lute music and playing technique in italy
: lute music and playing technique in italy 18th
century
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute List
lute@cs.dartmouth.edu
Date: Sunday, 16 May, 2010, 11:51
About lute players/theorbo players at courts: I think of
Agniolo Conti, Florence
Lelio Colista
Niccolo
If you mean the lute proper, rather than instruments like the mandolin,
there is no significant music in tablature after Zamboni (1718). There
are, of course, the Vivaldi pieces with 'liuto' in staff notation which
seem to require the old G (or A) lute which, as outlined below,
Getting away from recording techniques, I understand from a previous
communication that Bailes uses a large 18th century lute (76cm string
length?) for this recording of 17th (mid) century French lute music -
does he explain why he chooses such an instrument?
M H
--- On Wed,
Oliver,
You'll see I've copied this reply to Wayne cripp's lute list. If I
recall right from when I joined, you simply send an email to it with
the word subscribe.
Someone will put me right if this is wrong!
regards
Martyn
--- On Thu, 1/4/10, Oliver Webber
: chriswi...@yahoo.com chriswi...@yahoo.com
Subject: Re: [LUTE] Re: Bartolotti - date of Allemande
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 22 March, 2010, 20:59
I've lost the thread
...@yahoo.com wrote:
From: chriswi...@yahoo.com chriswi...@yahoo.com
Subject: [LUTE] Re: Bartolotti - date of Allemande
To: Monica Hall mjlh...@tiscali.co.uk, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Tuesday, 23 March, 2010, 12:18
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 22 March, 2010, 14:09
I don't have a solution to this particular problem but I was interested
in
something which you said about the style of the pieces suggesting a
later
date
: Bartolotti - copy of relevant page
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 22 March, 2010, 15:46
That's very interesting. Would the fact that Bartolotti was
Italian
make any difference?
As ever
Monica
Thank you for this.
On the subject of Bartolotti's theorbo works, has anyone yet come up
with an interpretation of the small numbers under the tablature stave
in the Prelude starting at f. 90v of Wien NB MS 17.706. Altho' this
piece isn't attributed to B., a later Allemande
Dear Martin,
I commonly use the Kapsberger appregiation in continuo playing (as well
as in these solos); it is also a useful way of articulating particular
notes. Almost always I would play the first pattern she gives in your
bar 6 example ie p i m i even where the 'melodic line'
I tried unsuccessfully to locate a source years ago. All I can say is
that I couldn't find it in any modern publshed source, nor in Playford
Ayres and Dialogues Books 1 - 3 which contain a few Lanier settings,
nor in Anne Twice's book, nor Ann Blount's. Could have set the words to
Martin
As previously discussed, double frets (a single piece not two guts)
need a bit of time to 'bed in'. The loop closest to the stopping finger
takes most of the wear whilst the other loop acts as the cut-off. Thus
double frets also last longer than single.
rgds
Martyn
'rubbery'frets.
Mh
--- On Fri, 19/2/10, chriswi...@yahoo.com chriswi...@yahoo.com wrote:
From: chriswi...@yahoo.com chriswi...@yahoo.com
Subject: [LUTE] Re: New frets
To: Martin Shepherd mar...@luteshop.co.uk, Lute Dmth
lute@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar
The gut should be pre-stretched before fitting. Mace (1676 p 69)
confirms this and provides good practical advice:
' And you will find, that the first Fret, will be ever the hardest to
Tye well on, for two Reasons.
First, because it is the Thickest, therefore not so ready to
it nearer the nut than you
want to end up (a choix), trim off the free end and burn it down to
lock
it, then slide the fret up to where you want it. It's very neat, too.
But as for double frets.
Best wishes,
Martin
Martyn Hodgson wrote:
The gut should be pre
I can see no reason to suppose it's an 18thC mandora (noteably neck too
short, bridge design/position wrong) but before casting it into Stygian
gloom of fakery there is just a possibility it could originally have
been one of the many 18thC Italian 6/7 course lutes so often depicted
of their right hand?
Andrew
common in Flemish and English models but not Italians
On 21 Jan 2010, at 09:25, Martyn Hodgson wrote:
There seems to be some confusion here: the reference wasn't to
exotic
instruments (such as the lute-harpsichord/lautenclavicymbal etc
There seems to be some confusion here: the reference wasn't to exotic
instruments (such as the lute-harpsichord/lautenclavicymbal etc) but to
normal run of the mill English harpsichords in which an additional row
of jacks placed closer to the bridge than the main ones was/is called
Also note the 'lute stop' or 'theorbo stop' on the harpsichord which
was a row of jacks plucking closer to the bridge than the main and
gives a more brittle and brilliant sound.
As you suggest the 'baroque' lute technique described by contemporary
sources needs much more
Regarding conductor's (as opposed to player's) whims: almost all the
conductors/directors (both professional and amateur) I know or know of
are generally only too willing to defer to their continuo players on
the appropriate style/instrument. Of course, if one waves an exotic
I suspect the same evidence that tells us of the general use of the
theorbo by JS Bach at St Thomas's Leipzig
MH
--- On Thu, 17/12/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: another day at the office
To:
) that is
frequently used, and tonics on the 1st and 3rd frets, and a minor third
on the second fret (3r). That's why I happily stick with ET. I'd be
curious, though, about solutions as regards pure intervals.
Mathias
Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk schrieb:
Whilst
Whilst agreeing that much of the 18thC Dm repertoire requires equal
temperament (or near), there's a case for some form of meantone for the
earlier French repertoire which asks for fewer modulations and
generally uses less extreme keys. The ubiquitous use of unisons (eg
open first
Dear Rob,
Interesting. When I first intabulated the 'lute' suites I found it
advantageous to do something similar - basing the logic on some of the
sharp and flat tunings sometimes still found in the 18th (ie not 17th)C
eg Lauffensteiner's f# tuning. So that, for example, if you
Yes Timothy - I use a small 'travelling' iron in similar circumstances.
It was in fact Mace's suggestion of using this method for gluing lute
bellies that first made me try it.
It's also very useful for laying down veneers.
MH
--- On Wed, 2/12/09, Timothy Motz
Yes, And as mentioned earlier, the melodic importance of 'brise' is
evident when one looks at works such as those by von Radolt.
MH
--- On Mon, 30/11/09, Mathias Roesel mathias.roe...@t-online.de
wrote:
From: Mathias Roesel mathias.roe...@t-online.de
Subject: [LUTE]
You'll probably know that most, if not all, of these de Saint Luc's
works are written for lute with another instrument (usually violin)
doubling the top line and one on the bass. This accounts for his more
straightforward/rigid part writing with a minimum of brise. Tho' of
course
Pepys refers to his 'lute' and 'theorboe lute' interchangeably. We know
he's talking about the same instrument since he took it to be altered
and mentions seeing it whilst the work was being underatken.
MH
--- On Mon, 23/11/09, David Tayler vidan...@sbcglobal.net wrote:
Looks like a spoof to me
MH
--- On Sun, 15/11/09, Robert Clair rcl...@elroberto.com wrote:
From: Robert Clair rcl...@elroberto.com
Subject: [LUTE] IO read it somewhere, it MUST be true
To: Lute List lute@cs.dartmouth.edu
Date: Sunday, 15 November, 2009, 21:40
The excellent Kings Music editions are still as available as before;
simply the name of the company has changed to The Early Music Company.
All you need do is google Kings Music - as before.
MH
PS The only trouble with Clifford's editions for continuo work is that
the numbers
Yes: the practice for most of the 17th century was indeed generally to
eschew a bowed bass both in such secular works (including operas eg
Orfeo) and in sacred music. The bowed mass only became ubiquitous
towards the end of the 17th century. As you say, an organ (chamber
type)
they were conserved
but.
Martyn
--- On Mon, 21/9/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: Re: Further on finishes (lute tops)
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute builder Dmth
lute-buil...@cs.dartmouth.edu
Cc
anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: [BAROQUE-LUTE] Re: Adirondack spruce
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: baroque-l...@cs.dartmouth.edu
Date: Friday, 18 September, 2009, 4:37 PM
Dear Martyn
This seems to be the
link
...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: Re: [BAROQUE-LUTE] Re: Adirondack spruce
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
baroque-lute@cs.dartmouth.edu
Date: Wednesday, 16 September, 2009, 8:54 AM
Dear Martyn
Le 15 sept. 09 à 16:51, Martyn Hodgson a écrit
Dear Anthony,
I don't know if you are aware of the pioneering work on treatment of violin
wood which Joseph Michelman undertook in the US during the 1940s: his work was
published (VIOLIN VARNISH) in 1946.
I believe Michelman was a chemist and certainly his book demonstrates a
rigourous
I'm impressed by what looks like an old case.
The instrument itself is clearly not any mainstream 'baroque' lute but
that doesn't mean it's a fake: it could be, for example, an instrument
like Dalla Casa's arcliuto francese or an archmandora, but both of
these are 18th century
Bear in mind that at the time of Old Gautier, the dance was still very
much influenced by the original Italian ciaccona which was indeed fast
and sort of syncopated (best sources for seeing the transitional styles
are possibly Corbetta's [and others] guitar chaconnes). Only in the
Try setting the date filter for, say, 1500 - 1600
--- On Wed, 26/8/09, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [LUTE] Re: Ein Newgeordent Kuenstlich Lautenbuch
To: G. Crona kalei...@gmail.com
Cc: Lute mailing list
I also once thought the idea of having the venue supplying a theorbo
was a good idea - that is until the problems experienced by many Double
Bassists offered this option were pointed out: unless they travelled
with their own instruments they generally found the basses supplied by
There is, of course, another explanation of the discrepencies between
the lute Falkenhagen is depicted as playing and what we normally
consider what a 'baroque' lute of the period is (other than lack of
precision on the part of the engraver - not unkown): that F posed for
his own
Perhaps clutching at straws, the name 'tiorba' might be a generic
pseudonym for any plucked instrument with fingered strings of the
period. So a large continuo calchedon (string length c. 96cm) might be
a candidate (eg the Prague Edlinger of roughly contemporary date)). To
get the
I reviewed it originally for FoMRHI but received no tape/CD and
mentioned this in the review
MH
--- On Fri, 22/5/09, Rob MacKillop luteplay...@googlemail.com wrote:
From: Rob MacKillop luteplay...@googlemail.com
Subject: [LUTE] Re: Lute recordings in meantone
To:
Dunno about that, but I see there's a CD with Bernier Canatas, one
'Hippolyte et Aricie' for sop, violin, basso which may, or may not, be
a praphrase from the opera
MH
--- On Tue, 31/3/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Alexandar and Anthony,
I find this correspondance very interesting since I'm considering
wether I can possibly afford to string all my lutes with Mimmo's new
loaded gut but am being equivocal due to the high cost: ie
many A-L-100s. The possibility of do-it-yourself loading to
much of the work is done.
--- On Fri, 27/3/09, alexander voka...@verizon.net wrote:
From: alexander voka...@verizon.net
Subject: Re: [LUTE] Re: Loaded Silk/gut questions 1
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: lute List lute@cs.dartmouth.edu
Date: Friday, 27
/gut questions 1
To: alexander voka...@verizon.net, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: lute List lute@cs.dartmouth.edu
Date: Friday, 27 March, 2009, 2:43 PM
Martyn,
There are a myriad ways to avoid actually PLAYING them
lutes
@cs.dartmouth.edu
Date: Thursday, 19 March, 2009, 9:07 PM
The rise in pitch when the string is depressed (fingered) is more to do
with the increase in its tension, not lengthening. Or rather both but
the effect from the latter is negligible.
AB
Martyn Hodgson wrote:
I am extremely
tiorbin...@gmail.com
Subject: Re: [LUTE] Re: String depression
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: lute mailing list list lute@cs.dartmouth.edu, Lex van
Sante lvansa...@wanadoo.nl
Date: Thursday, 19 March, 2009, 2:35 PM
On Thu, Mar 19, 2009 at 9:14 AM, Martyn
/3/09, William Brohinsky [1]tiorbin...@gmail.com
wrote:
From: William Brohinsky [2]tiorbin...@gmail.com
Subject: Re: [LUTE] Re: String depression
To: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
Cc: lute mailing list list [4]l...@cs.dartmouth.edu, Lex
van
but not directly related to fret height.
MH
--- On Fri, 20/3/09, William Brohinsky tiorbin...@gmail.com wrote:
From: William Brohinsky tiorbin...@gmail.com
Subject: [LUTE] Re: String depression
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date
in-between frets:
[1][1]http://tinyurl.com/cfajt5
AB
- Original Message -
From: [2]Martyn Hodgson
To: [3]Alexander Batov
Cc: [4][2]l...@cs.dartmouth.edu
Sent: Friday, March 20, 2009 8:30 AM
Subject: Re: [LUTE] Re: String depression
...@teleport.com wrote:
From: damian dlugolecki dam...@teleport.com
Subject: [LUTE] Re: Hi guys, nylon frets...
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
lute@cs.dartmouth.edu
Date: Wednesday, 18 March, 2009, 5:17 PM
One touches the strings with much less pressure than say
van Sante
Op 19 mrt 2009, om 08:57 heeft Martyn Hodgson het volgende geschreven:
I am extremely sceptical about this claim, if only for the
insignificant change in pitch which would be achieved by an
additional
depression of say 0.5mm (ie from stopping the string
depression
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: lute mailing list list lute@cs.dartmouth.edu, Lex van
Sante lvansa...@wanadoo.nl
Date: Thursday, 19 March, 2009, 2:04 PM
On Thu, Mar 19, 2009 at 4:00 AM, Martyn Hodgson
[1]hodgsonmar...@yahoo.co.uk wrote
dlugolecki dam...@teleport.com wrote:
From: damian dlugolecki dam...@teleport.com
Subject: [LUTE] Re: Hi guys, nylon frets...
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
lute@cs.dartmouth.edu
Date: Wednesday, 18 March, 2009, 3:47 AM
The projection of the string
Why don't you try a much thinner 9th fret (say 0.50mm) which not only
fits with Dowland's fretting advice (the principal historic source of
fret sizes) but would also enable you to have smaller lower frets, say
down to 0.90mm and thereby set the lute 'fine'?
MH
--- On Tue,
Thank you Peter,
Just one thing: I've clicked in WinRAR and it only seems free for a
trial period, can you suggest a free (and secure) software which can be
used to open these zip files?
regards,
Martyn
--- On Sun, 15/3/09, Peter Jones pjones...@toucansurf.com wrote:
I strongly recommend downloading the Santino Garsi da Parma recordings:
they well show Gerwig's immaculate phrasing in this repertoire.
MH
--- On Sun, 15/3/09, Peter Jones pjones...@toucansurf.com wrote:
From: Peter Jones pjones...@toucansurf.com
Subject: [LUTE] Download
What precise parts of Mace's work do you find not 'reliable'.
MH
--- On Fri, 27/2/09, David Tayler vidan...@sbcglobal.net wrote:
From: David Tayler vidan...@sbcglobal.net
Subject: [LUTE] Re: Laurent de La Hyre [loaded?]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Regarding the use of mercury (or lead) to load a gut string: if it were
a problem wouldn't we have seen at least some contemporary reports of
professional lutenists with poisining symptoms - I'm not aware of any.
But perhaps the amount of mercuric compound is so relatively small
The 'white spot' will be a small ivory button round which the holding
gut or tape is looped. Incidentally, there's some doubt that the gut
(or tape) fastened round a coat button: a contemporary engraving shows
thin tapes (or ribbons) coming from the coat buttons (or cld be from
--0-345006452-1235291295=:77846
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Further to my last about this, here's the picture and one of the email
communications from the 07s.
MH
--- On Thu, 12/7/07, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote
of associating a specific historic instrument with
a specific tuning, Martyn Hodgson wrote:
Praetorius, Mace to name but two.
What surviving instrument does Mace describe? What specific
measurements associated with what specific tuning does Mace give us?
Praetorius' 1620 Theatrum
, 18 February, 2009, 2:25 PM
On Feb 18, 2009, at 3:26 AM, Martyn Hodgson wrote:
However without troubling yourself to trawl these, you will also see
from my recent postings that there's absolutely nothing
'wrong'
with
small theorboes but just that the use of large theorbo tuning (ie
not a toy
at AA5, before realizing that there was something wrong with his
categorical one-size-fits-all construct. But he doesn't think of
such things. Hence the joke.
The fact is, I was taught in early adolescence that size doesn't matter.
On Feb 16, 2009, at 11:10 AM, Martyn Hodgson wrote
--- On Tue, 17/2/09, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [LUTE] Re: Theorbo by Nic. Nic. B. van der Waals for
sale
To: David Rastall dlu...@verizon.net
Date: Tuesday, 17 February, 2009, 8:30 AM
@cs.dartmouth.edu
Date: Tuesday, 17 February, 2009, 2:55 PM
On Feb 17, 2009, at 3:37 AM, Martyn Hodgson wrote:
If we have any pretensions to 'Historically Informed Performance'
Do you think we're all being pretentious?
it is
clearly daft to ignore historic precedent
Dear Alfonso,
A small theorbo is called a 'toy' theorbo when, because of its
relatively small size which only really requires the first course to be
at the lower octave, the second is also unnecessarily lowered: it's
all down to how the individual player strings it, not some
Thank you Eugene,
I use pen and paper copies now but, since so many collegues seem to be
producing computer set parts these days, thought that using the
appropriate software might not be as time consuming as I feared (I
can't quite believe that it takes less time to enter a note
The sizes (and therefore pitches) of lutes around 1600 is still a
matter of debate. VERY briefly: Wirth ( 2005) and Nurse (1986) looked
at surviving Venetian and Paduan lutes and on this evidence proposed an
average string length of around 66/67cm for a G lute which would
suggest
Oh dear! - I took it as read that the reference to local pitch and
national preferences did not require the pedantic adjective 'historic'
as in historic local pitch..
MH
--- On Sat, 14/2/09, Sean Smith lutesm...@mac.com wrote:
From: Sean Smith lutesm...@mac.com
I'm sorry for introducing a non-lute note into these communications,
but I'd be grateful for views on the best FREE computer software for
writing staff notation; ie something like Sibelius or Finale, but
free. I've tried Muscore which, seems to me, to have some problems but
Dear Martin,
It's not the 'ledge' which determines the height at which a string
leaves the bridge but, as the laws of statics tells us, the height of
the bridge hole in relation to the height of the front edge (many lutes
had forward sloping bridge tops). In short, the string
Whilst not disagreeing with the general thrust: that hand position
generally moved back towards the bridge by the early 17thC (which also
may, or may not, tell us omething about string tensions), could I ask
you if the pictures were selected to make the point or did you choose
them
FoMRHI has, in fact, been resurrected and two journals have now
appeared (third imminent). The administrator is Chris Goodwin (also
Lute Soc secretary so contact on their website)
MH
--- On Thu, 5/2/09, dem...@suffolk.lib.ny.us dem...@suffolk.lib.ny.us
wrote:
From:
Eh! Didn't the appogiatura change (short to long) from the early 17th
through to the late 18thC (see, for example, Donnington pp 197 -228) as
did the trill (from a lower note start to upper) during much the same
period (Donnington pp 236-259). The simplistic assumption that there
If you don't have a thickness sander (the Old Ones didn't either, so
don't worry) simply clamp one end onto your flat bench top, and using a
small plane (I use a low angle one-handed plane), plane to the required
thickness (ie to allow some trimming and shaping on the mould). For
Indeed Martin - and what other reason for the invention of the 13
course German theorboed lute than that 18th C players desired to retain
the sound of plain gut but also wished for rather more
sustain/power possible with the longer (and thinner) basses.
Martyn
--- On Sat,
There is more information and good photos about this instrument on the
collection's website, including the string length (340mm) which fits
well with views about the size of the English solo(?) cittern of the
period and the 'difficult' LH stretches. I say solo since the
:
From: Anthony Hind [EMAIL PROTECTED]
Subject: [LUTE] Re: Universale
To: Martyn Hodgson [EMAIL PROTECTED], Daniel Winheld
[EMAIL PROTECTED]
Cc: lute List lute@cs.dartmouth.edu
Date: Tuesday, 25 November, 2008, 11:07 PM
Dear Martyn and Daniel and all
I think there may
, are not identical.
Anthony
Le 26 nov. 08 A 10:05, Martyn Hodgson a A(c)crit :
I wasn't confused about bull and Toro bros! Tthe beef issue
comes from
Universale's earlier web page (mentioned in the Aug 2007
discussion I
mentioned).
I'm surprised we don't know more of the Toros
: Anthony Hind [EMAIL PROTECTED]
Subject: [LUTE] Re: Universale
To: [EMAIL PROTECTED]
Cc: lute List lute@cs.dartmouth.edu
Date: Wednesday, 26 November, 2008, 4:55 PM
Le 26 nov. 08 A 16:53, Martyn Hodgson a A(c)crit :
Eh! Beef: ' Flesh of ox, bull or cow' (concise Oxford). No need
I had a long conversation with Mimmo at last week's exhibition in
London. One of the things we discussed was strong trebles: he said (if
I understood him right) that ALL these higher tensile gut strings are
made by the same Italian manufacturer who sells them to various
Are you able to set out your research findings in a table of quantified
results? Also what tuning was used and what key?
MH
--- On Tue, 11/11/08, David Tayler [EMAIL PROTECTED] wrote:
From: David Tayler [EMAIL PROTECTED]
Subject: [LUTE] Re: Temperaments, the second night
To:
--- On Sat, 8/11/08, Martyn Hodgson [EMAIL PROTECTED] wrote:
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Temperaments, the second night
To: Andrew Gibbs [EMAIL PROTECTED]
Date: Saturday, 8 November, 2008, 9:44 AM
It only very roughly looks like 1/6 comma if you take
You may be interested to know of a recent paper published in FoMRHI Quarterly
No 110 (November 2008) by John Catch: 'Temperaments for gut strung...
instruments.
He shows (yet again) that with straight frets it is not possible to produce a
'meantone' (properly so-called) fretting pattern. The
A more interesting and challenging piece is surely the 'Gagliarda di Santino'
and its double/variant on F. 123v-124 of Mus Ms 40032. Here we have a more
complex work whose structure also seems obscured and some rather quirky melodic
leaps. Geisbert in his 1969 private publication 'Santino
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