Yes.
On Nov 2, 2015, at 2:06 PM, Peter Kwasniewski wrote:
Is this the one you are referring to --
[1]http://www.earlymusicshop.com/product.aspx/en-GB/1095936-girolamo-da
lla-casa-and-giovanni-bassano-divisions
Peter
On Mon, Nov 2, 2015 at 12:48 PM, Sean Smith <[2]lutesm...@mac.
Hi Peter,
There are the divisions on vocal repertory from the latter half of the 16th
century. Either lute or organ could play the original chanson and the other
could take the fancy bits. The London Pro Musica editions work nicely - for
example #13, Divisions on Vestiva i colli (Palestrina),
Variations on Anchor che col partir, Suzanne un jour and other pop songs by
Bassano, Bovicelli and dalla Casa (do I have that last name right?). These are
somewhat in the virtuoso range and will keep him on his toes.
LPM publications are your friend.
Sean
On Oct 12, 2015, at 7:46 PM, Herbe
That's a good observation, Bruno. The string tied to two buttons on the bowl
(as was my vandervogl) would not have been visible if it was only attached to a
shirt button or hook (tho I doubt that would be the case in all these images).
My question is - if a strap isn't being used and the left h
I don't know if this supports the thumb-over idea - in Germanic countries or
otherwise - but my old Vandervogl lute/guitar had an exceptionally slender neck
which naturally facilitated the wrap-around thumb. It was more parabolic, too,
iirc. There wasn't any place to put my left thumb except pr
Heres a start, Joe:
http://www.ukulele-tabs.com/uke-songs/foreigner/juke-box-hero-uke-tab-40847.html
Now if you lute players would just tune your lutes like ukes youd have all the
modern music you need and then some.
Sean
On Sep 2, 2015, at 1:57 PM, Mayes, Joseph wrote:
> My daughter is
Hi Herbert,
When I'm playing and wearing the strap, its pull is about 35 degrees away from
the line of the neck (to the bridge). If you were looking straight at the
belly, the strings would pull away to the left, to the rear and at an acute
angle to the neck. The strings, after they bend aroun
Granted I'm not a luthier but the weight of the lute being pulled from the side
- even from the furthermost pegs - is not more than the weight of the lute. A
smaller gluing surface of bridge-to-belly withstands the many pounds of strings
trying to pull the bridge off. Amazing stuff, hide glue.
Charles
I keep an eye out at Goodwills and other used clothing stores for a useful
belt. Years ago I found the perfect Marks & Spencer for a couple of bucks and
modified it for the lute strap. You certainly don't want any metal bits
bobbling around in the case. I use two dark laces coming off
Hi Ron,
I didn't mean to troll you. I see the differences in the situations. Yes, this
list is a good thing and if the kindness of certain individuals pre-empts a
predatory practice _and_ supports a great thing like world-wide lutey
friendship then something is right in this corner of the wo
Indeed, Ron, many thanks from all of us. I wasn't here for its genesis but it
has been a daily part of my life since about 2000. Amazing to think how much
I've learned and all the people I've met!
Sean
ps Are we depriving a commercial listserver a living by flocking to this free
daily concert
That's just silly, Howard. The inversion was a desperate device to prevent
thumb-under players from becoming thumb-over players. They saw the handwriting
on the wall and were willing to try anything at that point.
On Jul 6, 2015, at 8:15 AM, howard posner wrote:
> On Jul 6, 2015, at 3:05 AM,
This song/dance is more a "brawl" in 3/8.
It's got plenty of verses so it invites a bit of variation. Here's the
Baltimore Consort rising to the occasion.
https://youtu.be/EBC9ldiS2oM
Sean
On Jul 4, 2015, at 9:10 AM, Stephen Fryer wrote:
On 04/07/2015 6:34 AM, Edward Chrysogonus Yong wrote:
Who makes a decent, reasonably priced "octave" lute in d" these days?
I have a 40cm 6c from M.Haycock of his own design from '92. The body is deeper
than the Venere model (half-circle body and neck) and the pegbox is at a
90-degree angle. It's on my pic on the Lute.ning page and I'm quite ha
It's interesting to compare the two and thanks for putting them both against
the music. Personally, I like your playing without the dedillo as the run
becomes a little clearer and fits better with the nature of the rest of the
piece.
I'm not sure of purpose of dedillo in Milan's approach. Is
music for those living in the period. Except, of course, for
those unfortunate saps living during the saddest of all periods: The Kanye West
Age of 2015.
Best,
Baroque
Sent from Yahoo Mail for iPhone
At May 22, 2015, 2:44:40 PM, Sean Smith wrote:
OK, I'm so sorry to hear you're leavin
OK, I'm so sorry to hear you're leaving like this - and on a public forum, too!
Was it something I said? Too many inner voices, maybe?
We had such fun together! I'll always be here for you!
xoxo, The Renaissance.
On May 22, 2015, at 8:18 AM, Omer Katzir wrote:
Guitar - Check
Renaissance
meter. He could have graded all the frets very precisely by choosing
slightly bigger or smaller strings from each bundle.
M
On 18/05/2015 21:18, Sean Smith wrote:
> In buying and using our lute strings we place an awful lot of faith in our
> micrometers. I see people changing strings for
In buying and using our lute strings we place an awful lot of faith in our
micrometers. I see people changing strings for going up or down a tone or even
a semitone. Yes, I think I can feel the tension change and hear it to some
degree but we're often talking a difference of microns in string d
of them.
As for as the idiocyncracies which we find in the music - I am afraid these
just go with the territory. A 4-course instrument is quite limited and the
music just has to be arranged in a way that it can be played. You just have to
get used to it. Things were very different in the 16th
This must be that modern digital enhancement I've been hearing about.
On May 14, 2015, at 9:30 AM, David van Ooijen wrote:
>
Great idea! You play your thing and I stand next to you and lend a
finger when needed.
David
A
--
To get on or off this list see list information at
http://ww
n happens; the
Morlaye books are less discriminating. Also quite frequently the 4th course is
to be tuned down a tone and this eliminates the second inversion chords in some
keys. It just isn't necessary to go to such length.
I think people should be more careful in the way that t
There may be reason to rethink the splitting of the 4th course in renaissance
guitar technique. In the December 2012 LSA Quarterly, Michael Fink has strongly
argued for playing the octave seperately in the lowest course of the
renaissance guitar under cetain circumstances and for certain reason
That's what I'm thinking, too. The very first piece in Dalza's book is the
Caldibi Castigliano and it certainly points to a refined and complex idiom
unlike anything else in his Ferrerese or Venetiana dance cycles.
Sean
On May 4, 2015, at 9:52 AM, Gary Boye wrote:
A word of caution here:
Were they the same 4 that recommended Chesterfield cigarettes? If that's their
best pitch I think I'll just go with a tuning spoon.
s
On Apr 27, 2015, at 1:16 PM, Leah Baranov wrote:
4 out of 5 dentists recommend trident to their patients who chew gum...
On Mon, Apr 27, 2015 at 1:55 PM,
19 courses? At this point I'm imagining a thumb harp with a fret board at one
end for a few strings.
s
On Mar 17, 2015, at 8:33 AM, Dan Winheld wrote:
Always shaking my head, rolling my eyes, and counting all those upper pegbox
pegs when the pics or the subject of the 19 course chromatic th
nd
1573/03, No. 22)
(15-16v) Sancta Maria A.6. vocum / di Vertalot
[unicum]
Mus Ms 2987, No. 37-8
(12-12v) Susanna Vng Jour M[elchior] N[ewsidler] [Lupi
Didier II]
=?1586/5,No. 34 [similar embellishment]
(13-13v) Per su hospitiboschi: I A.4. Voce di
One more source, Dan:
Bayerische Staatsbibliothek, Mus. Ms 266.
It's reachable through the LSA facsimile source site,
http://www.cs.dartmouth.edu/~lsa/links/Digital-Facsimiles.html
You'll find the MNeusidler intabulations in the first few folios. I believe
they are copied from his books. I don'
On Jan 19, 2015, at 3:56 PM, Ron Andrico wrote:
Since I am otherwise writhing in maximum discomfort (many in the
American lute world wil be pleased to know),
Pleased? I hereby renounce any real, feigned or imagined membership in that
(hopefully small-to-nonexistant) group!
Best wishe
Dalza dances are pleasant with a bit of swing that engages the ear. And there
are a few frottole in the Dalza book for seeing early songs.
Haraytre is perhaps the easiest of Spinacino's late Burgundian settings (book
II) and is fairly short in a comfortable key.
A little later (20 years or s
6c rox. Welcome to our end of town.
Sean
On Dec 6, 2014, at 11:38 PM, sterling price wrote:
Hi all--Can someone direct me to an English translation of the
instructions in the first book of Delphin de Musica of Narvaez?
Yes, I know it is hard to believe but I recently got a nice renaissa
Humor in; seriousness out. A musician whose stock rose considerably on a parody
arrangement of a chanson from Michael Jackson's 3rd(?) book of ayres entitled
Eat it. We've seen this sort of thing before.
s
On Dec 4, 2014, at 10:16 AM, Edward Martin wrote:
Tongue up.
Sent from my iPhone
>
I found a little hook tool for electronics at Harbor Freight Tools. A couple of
bucks and it, too, is very helpful.
How did your experiments go at getting the string to slide easily over the nut?
Sean
On Nov 29, 2014, at 8:19 AM, Herbert Ward wrote:
The last time I changed strings, I had a
There is evidence JD sometimes borrowed Lady Clifton's Sprite.
[backs cautiously towards door]
On Nov 19, 2014, at 12:05 PM, Geoff Gaherty wrote:
On 2014-11-19, 1:52 PM, Sean Smith wrote:
> *comparison for our purposes; metaphor if John Milton had had an MG.
That reminds me of the
4, at 4:33 PM, "Dan Winheld" <[10]dwinh...@lmi.net>
wrote:
Squirrels can't hold on to them- boxer shorts can't contain them- but
lutenists LOVE them SLIPPERY NUTS!
On 11/11/2014 8:14 AM, Sean Smith wrote:
Hi Herbert,
I have never heard of this pr
For the record, Herbert, what are the materials of your nut and strings in
question?
Sean
On Nov 11, 2014, at 12:46 AM, Herbert Ward wrote:
The bent-back pegbox means that a lute
has 7.5 times as much friction at
the nut as a guitar, taking angles of
10 degrees for the guitar and 80 for the
Hi Herbert,
I have never heard of this problem on the 4th course with gut so I'll assume
you use metal wound strings. I'll admit it's an assumption that could be false
or you may be using a plastic of some sort. It would be helpful to know in any
event.
Using a string made up of coils that a
Hi Martin,
That's a nice essay on the instrument. Thanks for championing the doubled
courses - and the doubled top course. (I have a doubled chanterelle on my bass
lute and do appreciate it.) And it's a stunning lute!
I was not able to play the Piccininni for some reason. I tried it in two
br
one
> On Sep 4, 2014, at 12:03 PM, Sean Smith wrote:
>
>
> Chris speaks truth. Take it up in stages. Leave it for a day at E or F before
> going up to G. Swapping to a new ng or nng string is not something you do on
> stage!
>
> Sean
>
>
>
> On
Chris speaks truth. Take it up in stages. Leave it for a day at E or F before
going up to G. Swapping to a new ng or nng string is not something you do on
stage!
Sean
On Sep 4, 2014, at 9:53 AM, Christopher Stetson wrote:
Dear Simon and Listers,
I don't have nylgut on my lute, but have
Hi Simon,
I also went through 2 or 3 strings on my learning curve with nng. I had always
used a .42mm gut or [old] n.g.* and tried the same with n.n.g. No go. I went to
.39 and found satisfaction. You might have to go down to .37 or .38
Be sure the string doesn't wipe all the lubrication (if y
As far as I know, relatively few pieces were written for an 8-c lute. (Sorry, I
know there are some but forget who specified exactly 8-courses) Many pieces
were written for a 7-c where the lowest note was either an F or a D starting
with Adriaenssen and the Siena ms. in the 1580's and continuin
.
"Oh that's wonderful how he brought the tenor voice into the -- hang on, did I
park the car in a legal space?"
Sean
On Aug 4, 2014, at 5:36 PM, Tobiah wrote:
That was fun Sean thanks. You have a great
ability to express yourself keeping the reader
int mind.
Tobiah
On 8/4/2
Hi Tobias,
Despite holding it upside down, Hendrix did adhere to a lot of standard
techniques of electric guitar playing. His rendition of a certain repurposed
English glee song was more an experiment in melody and feedback (and propriety)
than technique in my opinion. Be that as it may - let'
As Nancy's sometime dueting partner, let me just say that I appreciate them,
too.
Sean
On Aug 4, 2014, at 10:25 AM, Nancy Carlin wrote:
About the pegs - guitar tuning pegs would be so heavy that the instruments
would be listing toward the left in our laps. Fortunately the Peghead people
ha
Hi Edward,
Negri and Caroso are excellent sources and should easily keep you covered for
two 30 minute sets. Feel free to play the repeats with a couple of extra
passing tones here and there. All are quite playable, Italian and enjoyable.
Many are quite easy, to boot.
Additionally, there ar
thank you Jean-Michel. It's a very pretty piece and I'll consider it.
Sean
On May 21, 2014, at 12:21 AM, jean-michel Catherinot wrote:
http://www.gerbode.net/composers/Ballard/pdf/53_courante_06.pdf
Why not?
Le Mercredi 21 mai 2014 6h43, Sean Smith a ecrit :
Dear frie
Dear friends,
I'm looking for a courante in F in the I - IV - V - I chord sequence as an
intro or interlude to Aux plaisirs, aux delice bergeres. I could probably
scrunch the Vallet "Pantalons" into 3 if I needed to but I'm hoping there's a
Dutch or French (or...) courante that's already out
Very nice. A clear tenor and a singing cantus. It sounds like singers who like
working together.
I love to hear how lutes change as one takes courses away. We're so used to
appreciating the grander and grander sound as they moved from 6 to 8 to 10 and
11 and beyond that we overlook what happen
t the Renaissance started in Italy, and then spread
northwards. I did an Oxford University online course on the subject,
and found it very interesting. Just type the term into Amazon, and see
what comes up.A
Rob
On 20 April 2014 07:12, Sean Smith <[1]lutesm...@mac.com> wrote:
What is thi
What is this "Northern Renaissance", Rob?
Sean
On Apr 19, 2014, at 11:05 PM, Rob MacKillop wrote:
Thanks for the replies. I hadn't given much thought to using a quill,
seeing it as more of a 4c lute technique, but I realise I am wrong in
that. Both techniques were used on the 5c. I like
Hi Rob,
Crawford Young has a trick of playing w/ a quill and he's able to use a few
other fingers now and then. That may work for the "noodles over tenor" recipe
that was popular. Eg, the spagna, Comme femme and De tous biens (from Segovia)
as well as earlier sources from the Buxheimer and Loc
Goober's a pleasant little beast, Dan. I'd love to see more
experimentation among builders and buyers in this early transitional
phase. (Of course then we'd have to play - and listen to - more
Spinacino, Petrucci and Capirola and that's a tough sell - why
izzat??) They can't all have look
I agree, Roman.
I can more readily imagine this as a renaissance performance in a
small chamber than our modern stage and audience set-up. It feels
intimate and he builds on it nicely.
Sean
On Apr 4, 2014, at 8:38 AM, Roman Turovsky wrote:
http://www.youtube.com/watch?v=WNmeGzjK6Ic
A t
Carrying that instrument across international borders that enforce
those regulations will be difficult, if not impossible.
On Mar 24, 2014, at 12:18 PM, Tobiah wrote:
On 03/24/2014 11:57 AM, Dmitry Medvedev wrote:
Hello,
I own a vihuela made by Luciano Faria in 2006. Unfortunately, i
Mystery cleared up. Mine is from "Echos de France" 1890 - on the web -
and who knows what's been done to it. I'll hopefully persuade my
singer back to the original.
Thanks folks!
Sean
On Mar 19, 2014, at 12:12 PM, Bernd Haegemann wrote:
Could some kind soul lead me to an online facs
Dear lutefolk,
Could some kind soul lead me to an online facsimile of Guedron's air,
'Aux plaisirs, aux delices' online -
or share a tabb'd version for the lute part and voice?
I have a piano reduction but not the time to intabulate it.
Many thanks,
Sean
To get on or off this list see
her than those
who must do so by necessity, such as bassists or percussionists).
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
----
On Mon, 3/17/14, Sean Smith wrote:
Subject: [LUTE] Re: Ornamental Lu
Don't discount, too, the usefulness of a table. It _does_ help in the
forward projection and, moreover, in the ringing of the basses.
When a string vibrates, the lute absorbs that vibration in a contrary
motion. No matter how you pluck the string it will want to vibrate in
whateve
Indeedaroody. They make good markers, too. Nothing like looking over
at a delicate moment and seeing a blur of 20-odd frets.
Sean
Sent from my iPotato
On Feb 9, 2014, at 6:51 PM, John Lenti wrote:
Thin guitar picks slid under frets are dynamite shims. Also wadded
paper. Many's the corner
A good point, Sterling. I've rotated frets many times in the past w/
different lutes.
If I had a little more freeboard at the edge of the fingerboard and a
larger radius chamfer at the edge I could probably make that work. As
it is, the right angle bend in the fret (larger ones especially
I've often heard this but I'm always afraid of creating a pair of flat
surfaces on the remaining gut that may not help on the _next_ fret off
that spool.
To those of you out there who use the hemostats, has this ever been an
issue?
I maybe be lucky in that I've got enough taper
Word, brother, Amen.
That 'new fret' sound is worth its weight in gold. Just replaced mine
Friday and I'm a happy camper again. Actual replacement per fret goes
pretty quickly but assembling all the tools, finding my notes and
gauges, etc can take the time*. For years I just used a match (
"this" = the smashing
or
"this" = the story?
On Jan 14, 2014, at 10:14 AM, Herbert Ward wrote:
I heard a story about a well-known guitarist who
opened his case to find the soundboard deliberately
smashed. [This] was from one of his students.
To get on or off this list see list in
is another example of how lute tablature is a score, a
representation of a piece of music on one sheet of paper (try reading
simultaneously from four partbooks and you'll see what I mean) rather
than a simple set of instructions on how to place the fingers.
With best wishes to all for 2014,
Mar
Dear theoj89294,
It's my understanding that they represent instances of "let this note
ring". In nearly all cases it helps the voice-leading in the polyphony
or keeps a bass note going until the next chord change.
One finds this practice in many previous lute books (though not all),
such
That's an interesting angle on the top surface of the pegbox, too. I
don't know why I expect right angles, though. Are there old lutes with
that shape at the end of the pegbox?
They definitely dialed that lighting effect in well!
Sean
On Dec 27, 2013, at 1:40 PM, David Hill wrote:
As a
Thank you for pointing these out, Rainer. This looks like nearly all
the lute output from the publisher Fezandat except for his run of
books by Albert de Rippe.
Sean
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Often the choice of a few of this or that is to stimulate the listener/
player to search out more. If those who hear it just assume those are
the ones to be played and revering only those then we end up, in a
sense, worshiping the finger that points the way.
I know, it couldn't happen in g
Dear trj,
There's one in Pierre Phalese 1545 (Iirc, it's set by Hans Gerle
although like most other Phalese, attributions are lacking)
http://digirep.rhul.ac.uk/items/c311b9e8-4eec-3f28-f07c-4338ada80023/1/
There's another anonymous setting in Phalese 1552 Hortus Musarum (it
appears nearly
Dear David,
I'm kind of slow in the math department but in my experience low
tensions strings _are_ more difficult to tune. When you get close to
the breaking point - ok, and just a bit shy of almost there - they
find that sweet spot rather nicely and you get a fine action around
the tun
Whoa, Parallel universe!
It got me wondering at the time what the magic rule was for where the
third should be. Later, when I got an actual renaissance guitar and saw
the "x begets y begets z" timeline it made sense what happened.
Sean
On Dec 16, 2013, at 9:19 AM, Tobiah wrote:
What? No love for Frederick Noad's, The Renaissance Guitar? That's
where I found my first breath of fresh airs. Guess I'm a dated 70's
man. "Ain't got time for disco, babe, gotta make Holborne fit on my
geetar." Then I saw Roger Harmon play his Zanetti at the local 17th
century music hall
heading in that direction again. What's new is old again!
Sean
On Dec 16, 2013, at 7:05 AM, Sean Smith wrote:
The Respighi was pretty popular among the easy listening/classical
crowd in the 70's; eg., restaurant rotation. My dad had it on 8-track.
He also had some Segovia reco
The Respighi was pretty popular among the easy listening/classical
crowd in the 70's; eg., restaurant rotation. My dad had it on 8-track.
He also had some Segovia records but we weren't allowed to touch those.
Sean
On Dec 16, 2013, at 6:38 AM, Chris Barker wrote:
I think that possibly mo
That's interesting, Chris. What part of the string would get repaired?
Would that be a gut string? If it's not too much trouble may I ask you
to scan that page for me. I confess, it's pure curiosity.
Sean
On Dec 15, 2013, at 1:01 PM, Chris Barker wrote:
Emilio Pujol was a fine teacher an
has tested some test strings made by Michel and he told me that
they are absolutely amazing.
About Pyramid strings, i can tell you that tension is approx. 6,6 kg,
and gauges included are:
e' - 0,60 mm
h - 0,79 mm
h - 0,97 mm
d - 0,82 mm
A - 0,98 mm
E - 1,23 mm
All in gut,
r than gut.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
On 12/10/2013 9:30 PM, Sean Smith wrote:
>
> I realize the guitar was strung in gut before nylon's
appearance. Should I assume it had thicker diameters and
higher tensions (
" music that wasn't suited to Segovia's personal tastes.
We're still recovering, and Barrios was simply one of those first
"rediscoveries."
Best,
Eugene
-Original Message-
From: [3]lute-...@cs.dartmouth.edu
[mailto:[4]lute-...@cs.dartmouth.e
ith. In fact,
before Dupont's nylon came along, Agustin Barrios Mangore had to use
steel strings, as the greater part of his life and work was in South
America- no place for gut! Segovia, who resented Barrios for most of
his life, said that Barrios' "Steel Fence" upset hi
PM, sterling price wrote:
Regarding nails on gut strings--even people like Segovia used nails
on
gut for decades. I like those early recordings of modern guitars
strung
with gut. I think nylon strings came about after WWII.
Sterling
On Tuesday, December 10, 2013 7:46 PM, Sean Smith
wrote:
Dear Joseph,
You wrote, "Because the stars do it one way - that's the right way."
Regardless where the dogma is, I think your cart's mis-attached to my
horse. As I understand how it came about for me:
A: The history tells us something.
B: The stars try it out.
C: I like the aesthetic.
D: I
Just to be sure, he used nails on _gut_? Ragossinig, too? When I
played those records in my childhood I always assumed they were nylon
strings. When would JB and KR have moved to nylon?
Sean
On Dec 10, 2013, at 6:21 PM, Allan Alexander wrote:
Sean
Bream used nails, so I guess it started
If things weren't like they were, they'd be different!
s
On Dec 10, 2013, at 5:58 PM, Tom Draughon wrote:
With Viagra he may have had more!
Tom Draughon
Heartistry Music
http://www.heartistry.com
Sent from my iPhone
715-682-9362
On Dec 10, 2013, at 7:36 PM, Bruno Correia
wrote:
Well,
Since there appear to be lute players who use nails - a club I haven't
joined and now I'm curious - I wonder if there are there people who
use all gut and nails.
Could they tell us their experience on how it affects the the life of
the strings? Do they [the strings] wear excessively? Do t
Dear theoj89294,
I use the Vox player on my mac for playing music files. It has an
option for slowing down playback but you may have to save the track to
your hard drive from the CD first. You can also download the free
music editor Audacity and slow down tracks and save them.
Sean
On
lutenists who compose new pieces also have to take into account the
physical reality of the instrument and draw on their own sensibility
and background to do that. I think personally this is the fun part of
it all.
Alain
On 12/09/2013 01:01 AM, Sean Smith wrote:
Dear all,
Thank y
sunderstood on just about all of these points.
Martin
P.S. Just don't get me started on ukelele strings...
On 09/12/2013 18:41, Sean Smith wrote:
Dear Martin,
As I see Ernesto's argument, the lute and modern ears would be
better served by using it as some sort of tool or compone
Dear Martin,
As I see Ernesto's argument, the lute and modern ears would be better
served by using it as some sort of tool or component in modern music.
21 century music is what gets his attention and holds it. Is that
right? Is there a new golden age for lute just around the corner if we
Dear all,
Thank you for the Joe Pass suggestions. Jaw-droppingly fluid and rich.
It also got me thinking how jazz standards and renaissance vocal works
evolve in the instrumental sphere.
Quite clearly, the personal reworkings of old established songs is a
great tradition. For example, on
ery very appreciated!)
So rather than presume copyright infringement and all the rest, maybe
a
little discussion of actual need, purpose and such would be in order?
On Tue, Nov 26, 2013 at 12:51 PM, Sean Smith <[1]lutesm...@mac.com>
wrote:
Graham,
As I see it, Stewart and others spent many h
Graham,
As I see it, Stewart and others spent many hours - months, rather -
assembling a lot of information into 70 pages of large format and
small typeface in the additional critical volume. There are also the
many many pages they painstakingly pored over in the original ms. to
decipher
Does your friend have deep pockets? OMI in New York appears to have it
on their website ... listed at 2400 Euros but call for their special
price.
http://www.omifacsimiles.com/brochures/squar.html
Sean
On Nov 16, 2013, at 2:09 PM, co...@medievalist.org wrote:
Dear Collected Wisdom, I hav
A good point, Bill, and I don't think I've seen any body frets (old or
new lutes) with body frets for the bass notes. There are pieces that
do, however, call for an 'l' on the 6th course. ...usually that
dreaded F chord w/ that passing tone up from the 'h' on the 6th course.
If my strings
Definitely rounded. I can't see how you'd shape them down in place on
the belly so knock them off and make new ones. Tonewise, I don't think
the material makes a significant difference but they'll sound a lot
nicer when they are rounded. Much like the effect when you trade those
old flat-
has never
failed, but it's still easy to pry or knock them off when
necessary. In
1/2 hour it has set enough to gently try out the frets.
Dan
On 10/29/2013 7:02 PM, Sean Smith wrote:
Dan, I was referring to a fletching adhesive that I think you
suggested for a tastino. Ri
ng, steel-
string 14 fret neck guitar. Again, equal temperament- which sounds
horrible on steel strings once you've had a good meantone experience.
Dan
On 10/29/2013 5:50 PM, Sean Smith wrote:
Hi Leonard,
I should think a capo --in theory, anyway-- could work at most any
fret; just adj
Hi Leonard,
I should think a capo --in theory, anyway-- could work at most any
fret; just adjust your frets accordingly in The Pattern. (You'll miss
out on that tastino goodness unless you can fashion one to stick down
where you need it but I think Dan Winheld had a trick for that, too)
I have the Strobe Tuner from Katsura Shareware on my Macs (OS 10.3
onward). $15
http://www.katsurashareware.com/strobe/strobe.html
The Cleartune app for iOS (and Android) is cheaper and more portable.
Just remember to turn it off after you tune.
Both can be transposed to the "Do" of your
he archlute for the cantata. I'm
sure the audience won't mind waiting while I tune 31 strings.
On Aug 23, 2013, at 1:45 PM, Sean Smith <[1]lutesm...@mac.com> wrote:
Again, the practicality is understood. What I should also mention is
that it influences the concert choice
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