this problem.
On Aug 23, 2013, at 11:18 AM, Sean Smith lutesm...@mac.com wrote:
It's an interesting trend and I don't know what to make of it, Dan.
A few years ago I went to a concert of a well-known poster on this
list and the Francesco pieces were played on an 8-c lute and the
Dowland on a single
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 of music:
I have an 8c. To make best use of it I will play a concert
On Aug 12, 2013, at 11:49 AM, Nancy Carlin wrote: What we don't have
now is the record companies being the gate keepers for publicity.
The flipside of this was that x is a name on a major label or any
label one may have heard of --or even recorded could be the selling
point for an
I had heard some of the Bream records throughout the early 70's and
they impressed me but didn't make it look at all attainable. If I
might be so bold, too much flash --which, of course, sold records and
filled large halls-- but didn't seem to suit the instrument.
What sealed the deal
G's and O's indeed. I remember how my lute hand coordination grew as I
ground and polished my first 12 mirror. Just as I finished it (mid
90s) Saturn and Jupiter were both visible in the early evening sky. My
buddy (who had intruduced me to John Dobson for the ATM classes) and I
had a
Does it even rise to Quixotic?
On Aug 8, 2013, at 7:17 PM, Roman Turovsky wrote:
Marketing is not necessarily good for culture. Especially marketing to
the lowest possible
denominator.
Culture is supposed to raise the listener/spectator to its level, not
to descend to his.
Marketing
Hi Sterling,
I just went through the exact problem as you w/ the first fret not 'lying down'
about a month ago. I was also hoping on a piece of advice that wouldn't lead to
removing and more carefully retying one. Yes, they are expensive at that
diameter. Forgive me for watching and waiting
Dear all,
Are there any Antico variations in Der Fluyten Lust-Hof or other late
Renaissance wind repertories? Would anyone have other suggestions where I might
look for single-line examples?
Thanks in advance,
Sean
To get on or off this list see list information at
have it fewer than 10 feet away.
-Original Message- From: Sean Smith
Sent: Sunday, July 14, 2013 2:35 PM
To: lute
Subject: [LUTE] van Eyck or others
Dear all,
Are there any Antico variations in Der Fluyten Lust-Hof or other late
Renaissance wind repertories? Would anyone have other
Further to the cittern, you might try to access any work done by David
Hildebrand. He lectures and and performs on it (as it relates to the colonial
period) mostly around the east coast and particularly Maryland.
Sean
On Jun 23, 2013, at 1:34 PM, Arthur Ness wrote:
William Brewster, a
Dear Ralf,
I had the same experience and snapped two .42's learning that New Nylgut won't
always replace the old Nylgut of the same diameter (the second course did
fine). My only difference being that my mensur is 60cm. I ordered .39 NNG and
that solved it. I only use nng for the 1st course,
Those are lovely, Martin; so wonderfully different from all that down-beat
driven, passaggi fol-de-rol. As for the strings, I bought about a half dozen of
them years ago and did use and enjoy them. Still have one waiting for the right
place.
Sean
On May 28, 2013, at 6:12 AM, Martin
Hi Mike,
I understand your frustration w/ which Moderno. I know it's frowned on but
could you could put an mp3 up of it on the web?
Sean
On Apr 9, 2013, at 10:48 AM, mike murray wrote:
Hello wise ones.
Lutz Kirchhof's The Lute in Dance and Dream was at my local Twin Cities
exurb
Arto,
You see the long-and-two-shorts all over Spinacino, too. For example, in the
Sidedero in the Odhecaton uses a dotted figure while Spinacino repeated uses it
in the way you describe in Newsidler (we find the same figures more often
dotted rhythms in the Capirola Sidedero, however).
Well, it's hard to say whether the train of this argument has run its course or
whether it's all gone off the rails now. I still think some sort of ren. guitar
would be possible in Dalza's Italy and have heard no evidence that it couldn't.
We may disagree as to the instrument portrayed in the
.
Monica
- Original Message - From: Sean Smith lutesm...@mac.com
To: lute lute@cs.dartmouth.edu
Sent: Thursday, January 31, 2013 9:11 PM
Subject: [LUTE] Re: 6c guittar
Well, it's hard to say whether the train of this argument has run its
course or whether it's all gone off the rails now. I
B-b-but Tinctoris said
Sean
On Jan 29, 2013, at 12:40 PM, Rob MacKillop wrote:
Now this will be piss me off right royally if you nutters start turning my
video into an excuse for ranting about what an effing guitar is! Just listen to
the damn thing, and keep your mouth shut.
:-)
Rob
http://www.youtube.com/watch?v=ACsd_9dXnfM
-Message d'origine-
De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part
de Sean Smith
Envoyé : vendredi 25 janvier 2013 00:35
À : lute
Objet : [LUTE] Borrono on the little guitar
Emboldened by Stuart's
I liked it, too. Thanks Stuart.
Sean
Interesting YT: I played it after Joseph M. wrote his note (30 min after Stuart
posted it) but when I got there it said there had been no views. Invisible eyes
of the marketplace?
On Jan 24, 2013, at 12:30 PM, WALSH STUART wrote:
Sol Sub Nube Latuit. A
,
Quadrivium, Music, by Bernadino Pinturicchio, dated 1493.
Monica
- Original Message - From: Martyn Hodgson
[2]hodgsonmar...@yahoo.co.uk
To: Sean Smith [3]lutesm...@mac.com; Monica Hall
[4]mjlh...@tiscali.co.uk
Cc: Lutelist [5]lute@cs.dartmouth.edu
Sent: Tuesday, January 22
Martyn
--- On Mon, 21/1/13, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: Calata de StrAmbotto
To: Sean Smith lutesm...@mac.com
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 10:38
I am afraid
a mandora shaped guitar was the default.
regards
Martyn
--- On Mon, 21/1/13, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: Calata de StrAmbotto
To: Sean Smith lutesm...@mac.com
Cc: Lutelist lute@cs.dartmouth.edu
Date
Bill,
I only have 6c lutes (D, E, G and d) and a renaissance guitar and they are all
strung w/ octaves on 4th through 6th courses. The case could be made that the
descant would comfortably survive unisons on the 4th but I like the consistancy
to my ear of the same architecture on all of them.
Ness arthurjn...@verizon.net
To: Monica Hall mjlh...@tiscali.co.uk; Sean Smith lutesm...@mac.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, January 20, 2013 5:21 PM
Subject: [LUTE] Re: Calata de StrAmbotto
Monica surely has simply forgotten about these Italian guitar pieces.
Just four
On Jan 20, 2013, at 2:49 PM, Dan Winheld wrote:
One or more of the great early German pedagogs (H.Neusidler, Gerle,
Judenkoenig) was/were absolutely explicit on this: 1st course gauge for 4th
course 8ve, 2nd for 5th, and 3rd for 6th. On my early style 6 course lute this
works just fine. With
Dear folks,
In Dalza on 44v there's a Calata de strombotti. Could anyone tell me which
strombotti this is? I'm afraid I don't have HMBrown's Instrumental Music before
1600 which would probably tell me.
My appreciation in advance,
Sean
To get on or off this list see list information at
century dance form.
Hope that information is of some use.
Monica
- Original Message - From: Sean Smith lutesm...@mac.com
To: lute lute@cs.dartmouth.edu
Sent: Saturday, January 19, 2013 5:13 PM
Subject: [LUTE] Calata de Strombotti
Dear folks,
In Dalza on 44v there's a Calata de
of any? - but
the calata re-surfaces in some early 17th century Italian guitar
books - notably
those of Montesardo and Costanzo.
Monica
- Original Message - From: Sean Smith
[1]lutesm...@mac.com
To: lute [2]lute@cs.dartmouth.edu
Sent: Saturday
Thank you for this, Rainer!
Please note, this includes the Horti Musarum Secunda Pars... 1553. A collection
of lutesongs on (mostly) French chansons which serves not only as a good source
of voice and lute duos but as a template for creating more from most any song
of the period. It also
My medium hands love my fat necks.
I have an E lute made from an old vandervogel guitar and Mel was constrained by
the join to keep the neck join pretty thick. He offered to take it down later
if it got to be a bear but I like it. Probably not optimal for most but it
works just fine for me.
I am heading away from guitar, and moving to lute exclusively.
Another soul! Bwahahaha!
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Good luck, Leonard. If the winds are playing too loud that means you won't have
to tune as often.
On Oct 28, 2012, at 5:42 PM, Leonard Williams wrote:
Here in Lancaster County, PA, you will find no bread or milk left on the
supermarket shelves. Or bottled water, for that matter. That's how
Thanks to the kind souls who set me on the path to victory.
I saved it to .midi (don't forget the key signature!) and then opened it in the
free Finale Notepad. There might be better programs out there but for now I'm a
happy camper.
Sean
On Oct 1, 2012, at 6:48 PM, Sean Smith wrote:
I'd
I'd like to translate some lute duets into grand staff for a harpist but I'm a
little intimidated by the Fronimo process (that's what I have and I can't go
buying something new at this point). I tried the simple Translate-to-Mensural
--Grandstaff but it doesn't look musician-friendly and I
Frets fall, leaves fly.
On Sep 26, 2012, at 4:12 PM, Dan Winheld wrote:
Warm case holds pegbox,
Wooden frets are falling off-
Autumn is in the air.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Fret knot.
On Sep 26, 2012, at 4:48 PM, Dan Winheld wrote:
.and I blew the syllable count on the last line. Hot seppuku for breakfast
tomorrow.
On 9/26/2012 4:22 PM, Sean Smith wrote:
Frets fall, leaves fly.
On Sep 26, 2012, at 4:12 PM, Dan Winheld wrote:
Warm case holds
I had always assumed it was to play better in groups whether instrumentalists,
singers or others just standing around. Less, jabbingly, so to speak. By 1500
tradition cemented the idea in the common mind that that was 'how a lute's
shaped' perhaps in keeping with its history of the oud.
It
September 2012 17:09, Sean Smith [1]lutesm...@mac.com wrote:
I had always assumed it was to play better in groups whether
instrumentalists, singers or others just standing around. Less,
jabbingly, so to speak. By 1500 tradition cemented the idea in the
common mind
Hi Stuart,
I know how you and others feel that gut is too expensive but I feel I
ought to put my experience out there.
10 years ago I bit the bullet and bought 5th and 6th course
fundamentals of roped gut. They came in a length that if not cut and
the remainder wrapped around the peg
John,
As an initial on a page can set the tone for that page for a long
time, I fear for the offense taken. Please accept my apologies as no
such meaning was intended. I'm sure the thumb will be fine.
s
On Jun 19, 2012, at 7:06 PM, John Lenti wrote:
Sean, I'm not up on the listserv
Hi ho John,
Iirc, he was at the same LSA event as when I met you wa-a-ay back
when, earlier this century. (It's impossible to keep DS away from
Cleveland.) You probably didn't notice him running and hiding behind
doors and furniture whenever you walked by like we did. Fun times
those
What Dan said: Great playing and I love that sound you get out of the
instrument!
Sean
On Jun 5, 2012, at 8:03 AM, Daniel Winheld wrote:
Very nice! Relaxed, elegant phrasing- good tone, keep up the good
work, let's hear more.
Tell us about the lute, nice shape, size sound.
Dan
On
There are three dance suites in the Itabolatura di Diversi Autori
1536 that are each followed by a short Tochata.
The first two state: Tochata nel fine del Ballo and the third,
Tochata Del Divino Franc. Da Milano. The first two could as easily
be by P.P.Borono as the dances are mostly
Dear trj,
My first choice is always real gut but there are mitigating factors.
Plan B, which includes most of my waking life and lutes, settles on
the New Nylgut. I do find it much nicer than the previous incarnation.
It's closer to gut's density, tunes (and stays) quicker (and longer)
Dan's right about the micrometer. If you're in the US a digital
micrometer (or caliper - useful for measuring the fret height, too!)
is cheap at Harbor Freight and one should be in everyone's string box.
I don't know how they did it in the old days but 3 cheers for modern
metrics (and
Oh my God! It's full of stars!
And now I know how to divide a circle in 5, 15 or 17 sections. Thank
you, Andreas!
Sean
On May 4, 2012, at 11:39 AM, Andreas Schlegel wrote:
Have a look at this:
http://www.e-rara.ch/zuz/misc/content/titleinfo/2475220
Page 178 is our picture, but here's
If you haven't yet ordered a lute, I would consider an 8 course,
which
in my opinion is more versatile.A It even allows you to cheat and
play
10 course music...
Very true, Bruno, I loved exploring the Vallet and Ballard books for
years on my 8c, turning singers on to Airs de cours
Joshua,
There's a lifetime's worth of music in 16th century. If you put on one
more course to accomodate Dowland more power to you. Me? I guess I've
been shedding courses over my years at it having discovered the
renaissance guitar lately. (Mrs Smith, who doesn't share our love of
... it was low tension for the D, high tension
with the F. Using gimped strings on that, it worked OK, but i really
like the 8 course, as one has access to both.
English music seems to favor the D, where continental music seems to
favor the F.
ed
At 12:52 PM 5/2/2012, Sean Smith wrote
lutes.
Anybody found a way to save on fret gut?
Bill
From: Sean Smith lutesm...@mac.com
To: lute lute@cs.dartmouth.edu
Sent: Monday, 30 April 2012, 20:33
Subject: [LUTE] Re: Stringing a lute
I call that extra tied on bit a leader. If I use a less stretchy
material I know I'll have
I have tried shorter
ends and pulling them tight with pliers,
I should've been clearer here. If you're making you 5th fret where the
4th or third-and-a-halfth fret would be you should only need enough
tension to keep the string taught while burning it. I have about 5 lbs
of tension on
I call that extra tied on bit a leader. If I use a less stretchy
material I know I'll have less spring between peg and nut which speeds
and stabilizes tuning. That w/ a bit of beeswax at the nut makes for
quicker work.
The other reason I'll use it is economy. Sometimes I can get two
There is a tool you can add on to the Firefox browser called Down them
all:
http://www.downthemall.net/
If you set it for .jpg you can get all images with minimal clicking.
Just thought I'd put that out there.
Sean
On Apr 7, 2012, at 4:55 AM, Matteo Turri wrote:
The Royal Holloway
Could anyone send me a scan of Melchior Newsidler's intabulation of
Damour me plains? The German tab facs would be ok but a french tab
would save me a bit of decoding.
Many thanks in advance,
Sean
To get on or off this list see list information at
Jacob Heringman writes about the similarity of the scribes between the
Siena ms. and a Haslemere manuscript in the booklet that accompanies
his recording of the former. Is this available?
Dolmetsch Library in Haslemere (MS II C23)
many thanks in advance,
Sean
To get on or off this
- From: Sean Smith lutesm...@mac.com
To: lute lute@cs.dartmouth.edu
Sent: Wednesday, April 04, 2012 3:14 PM
Subject: [LUTE] Haslemere ms.
Jacob Heringman writes about the similarity of the scribes between the
Siena ms. and a Haslemere manuscript in the booklet that
accompanies his
I should think Ortiz' variations on chansons and madrigals would be
fair game. Dalla Cassa is a lot of fun if only because they're so
difficult for the melody instrument. Giovanni Bassano, too, but since
he comes from a family of traverso makers there are probably those who
would take
I was just playing dear old Languir me fait last night which happens
to be the first lutesong I was introduced to at Barrington in 78 or
79. Suzanne kindly and patiently sang the Attagnant with me. Nervous?
oh yes. She had me loving it in no time and for that brief moment I
have a lot to
Ach, dear old Pierre Phalese. We'll always wonder about the back
story. As anthologies go, they're a wonderful pool to draw from. When
we see the other books he pulled from and what he thought would be
worthy of further desemination, upgrading and elimination he starts to
show us much
, howard posner wrote:
At an LSA seminar, Isabelle, whose last name I don't quite remember
and could never spell, remarked that Attaignant was the Mel Bay of
the 16th century.
On Mar 21, 2012, at 2:06 PM, Sean Smith wrote:
Ach, dear old Pierre Phalese. We'll always wonder about the back
story
What a tangled web we weave,
Of oxen gut and silken sleeve.
Cobdoggerel Smith
On Mar 7, 2012, at 11:12 AM, Arto Wikla wrote:
Actually they have a brilliant survival strategy. Normally spiders do
not co-operate, but in the case of emergency... Well they have had 400
million years to
Hi Tom,
I don't see any replies to your question --Have you driven a Ford
discussion lately?-- so here's what I know.
He certainly doesn't figure prominently in the first string of late
Elizabethan or Jacobean composers but one book of his survives:
Musicke of Sundrie Kindes Set forth
, and keep playing,
Chris.
On Sat, Feb 25, 2012 at 6:33 PM, Sean Smith [1]lutesm...@mac.com
wrote:
Hi Tom,
I don't see any replies to your question --Have you driven a Ford
discussion lately?-- so here's what I know.
He certainly doesn't figure prominently in the first string
Surely you can make a case for it.
Sean
On Feb 17, 2012, at 5:11 PM, Edward Mast wrote:
No bid for this instrument from me . . . too many strings attached.
On Feb 17, 2012, at 6:10 PM, David Smith wrote:
200
Sent from my iPhone
On Feb 17, 2012, at 3:03 PM, wikla wi...@cs.helsinki.fi
No, not really. Don't want to stick my neck out.
On Feb 17, 2012, at 7:03 PM, Edward Martin wrote:
Don't you have the guts to bid on it?
At 07:15 PM 2/17/2012, Sean Smith wrote:
Surely you can make a case for it.
Sean
On Feb 17, 2012, at 5:11 PM, Edward Mast wrote:
No bid
that a fairly complex variation (more complex
say than a trifling Toy), might have become associated with this
meaning (i.e. a sort of musical maze).
Regards
Anthony
___
De : Sean Smith lutesm...@mac.com
À : lute lute@cs.dartmouth.edu
Envoyé le : Dimanche 12 février 2012
The dumpes question seems to have settled down again but I have to
wonder, could they simply be a lullabies? The repetitive, hypnotic
character is like no other kind of composition and they never really
get what you could call exciting. I'm thinking of the earlier ones
pivoting on C and
From what I read of the reviews it's just the thing if equal
temperment is your goal. It will accept *one* other temperment that
you'll have to input yourself. From a review on Amazon:
We specifically wanted a tuner that could do non-equal temperament
(if you don't know what I mean by
I use Strobe Tuner 1.6 from Katsura Shareware. $15. (It's good on a
Mac back to 10.3.9 --which is my Mac/Windows/Fronimo machine.) I more
often use the Cleartune on an ipod touch since it's easier to hold w/
a lute in my hand and does pretty much all the same things. The
Cleartune also
Tom,
I just looked at my old Scolar Press facsimile and measured the height
of the first page of music (Unquiet thoughts). From top of the I to
the bottom of the extra stanzas measures 24.7cm (10 5/8) --this is
the verticle boundry of the printed area; not the page size. The
publisher's
The Jannequin chanson (La canzone dell Ucelli) cycle was intabulated
by PPBorrono (or Francesco, it's unclear). Not easy! There is a duet
of it in the Munich mss. for various tunings of descant (a
contrapunto) over lower voices.
Also for ren guitar: L'Alouette in A. LeRoy's 4th book.
Also:
Ensemble Barocco Italiano (Massimo Gentili-Tedechi, traversiere;
Francesco Tapella, tiorba; Barbara Petrucci, clav.; Maurizio Mingardi,
viola da gamba)
Nuova Era 7163, 1993
On Jan 4, 2012, at 9:36 AM, Daniel Shoskes wrote:
Pascal Monteilhet and I believe Joachim Held.
On Wed,
Old Japanese saying:
When the wind blows, the cats disappear.
s
On Nov 23, 2011, at 12:34 PM, Garry Warber wrote:
Why, was them fightin' words? :-)
No, actually, I don't care what you use... I just am starting to look
askance at the brouhaha over the EU ban thing. It doesn’t matter
Bill
That's a good question and we should all get a chance to listen to the
experiment. I did and from my experience a unison-strung 6c is pretty
clunky to play. When you have two ropey gut 6th course basses side by
side you run into intonation (and buzzing) problems and it's pretty
literature, but especially in ensemble music). I prefer the
sound of unisons when played t-i. Were I to go to gut, I might find
that I would need to go to octave tuning, and have to learn to
accustom myself to that sound, and/or alter my technique.
On Nov 20, 2011, at 2:13 PM, Sean Smith wrote
Hi Arto,
This doesn't answer your question but I had a bass lute built w/ a
double chanterelle and found that it creates a slightly different
paradigm. We're so used to the single chanterelle singing that it
just becomes normal to our ears. The double, otoh, sounds like an
extension of
Caravaggio al frodo! Doesn't The Hobbit start out w/ a motley crew
(no umlauts) of dwarves having a party at Bilbo's house w/ lots of
lutes and things?
Looking at the Wiki article (thanks Ed!), one of the 3 versions of
this appears to be a 7c and the other two are 6c's --all doubled top
some viols, and perhaps Orey and Norey have
recorder/flutes? Ben a bit since I read it, but winter is a-comin'
in...
-Original Message- From: Sean Smith
Sent: Saturday, November 19, 2011 7:23 PM
To: lute
Subject: [LUTE] Re: Double 1st string on 6 course lutes?
Caravaggio al frodo
Excellent question, Dick, and one that _should_ come up from time to
time.
This drives me up the wall, too. I blame it on nerves. ...and
temperature. Dress warmly. It's initially helpful to run your hands
under warm water but it really doesn't take the chill out of nervously
Haha - And it's an anniversary day as I (very carefully) proposed at
11:11. ...11 + 11 years ago!
s
On Nov 10, 2011, at 4:57 PM, G.R. Crona wrote:
11-11-11
;)
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I have a lute whose strings go to eleven but I suppose a lot of people
on this list do.
s
On Nov 10, 2011, at 6:03 PM, howard posner wrote:
Christopher Stetson wrote:
It also has been declared by someone to be Nigel Tufnel Day, after the
member of Spinal Tap with the special amplifier
Oh, this is beautiful! Many thanks to everyone who helped make this
happen!
Sean
On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote:
As of today, there is a digital facsimile of the Capirola lutebook on
line in a marvelous presentation, full color!
Wolfgang,
This is a very satisfying couple of pieces played together. Your
recording is well-played, too!
I opened a concert with them last May and thought they worked nicely.
(Yes, I credited you on the program ;^)
cheers from young California,
Sean
On Nov 7, 2011, at 1:43 PM,
I have the dubious honor of working every day around a lot of razor
blades, getting to chip away at lots of materials and even playing
with fire, torches and acetone (tho not all at the same time, to
OSHA's delight). It can be humbling. On the other hand, ahem,
lutenists should learn to
It's nice on the R guitar when the 4-part harmonies work but that is
pretty rare. These bransles work best if the rhythm is accented rather
than the harmonies so I'd find a strum that works about twice a
measure and make sure a melody on the top works. For variation I'd rob
from the alto
I think they're doable on lute plucked as usual although a ren guitar or a
cittern would be more suitable for strumming, IMHO.
Sean
On Oct 31, 2011, at 3:56 PM, Stuart Walsh s.wa...@ntlworld.com wrote:
How would a strummer strum chords to these tunes composed (arranged?) by
Gervaise in the
Metal strings, maybe? As in a small bandora? I suppose it would look
like a tenor orpharion but I don't see any reason not to tune one like
a bandora.
Sean
On Oct 25, 2011, at 3:58 PM, Mathias Rösel wrote:
My guess is
that the general pitch at this period was around a tone lower than
Searching under guitar will bring up the 4 Adrian LeRoy / Gregoire
Brayssing renaissance guitar books.
Thank you, Arthur and Kakinami-san, for this great source!
Sean
On Aug 14, 2011, at 5:54 AM, T.Kakinami wrote:
Many thanks.
There are 32 lute related materials.
Kakinami.
Lauri Niskanan on the Lute-Ning page kindly gave a very nice little
tutorial for batch-downloading a book and w/ his permission (and
addendum at 7b) I reprent it here.
If you use Firefox (and if you don't, um... I dunno what plug-in to
use for other browsers)
-
1.
This is an amazing source. V. Galilei could apparently write a
galliard or variation as easily as we could fill in a daily crossword
puzzle. I think I counted 200 variations on the Romanesca in every
conceivable key (or for every size lute all in the same key) and the
galliards are
Ooops! But you will need a microphone. Meritline sells one for $2 that
is essentially a little button that plugs into the earphones slot.
http://www.meritline.com/apple-mini-microphone-mic-recorder---p-37453.aspx
You don't need the phone. The Cleartune tuner is downloadable to any
iPad
I've been spending a little time in the Intabulatura di Lauto del
[FdM] et PPBorrono, Libro secondo, 1546, Venice and I'm curious about
the first suite. La Duchessa is the 2nd of 3 saltarellos that follow
La Borroncina (a self reference to PPB? eg, Il Gorzanis) and also
appears in the
Thanks, Donna. It hadn't come up in the translate things and had to
make sure
s
On Jul 29, 2011, at 5:45 PM, Ron Andrico wrote:
Hi, Sean - Donna here, with my sixty four cents' worth. According to
the 1611 Florio's, a 'pistrina' is a bake-house or mill, and a
'pistrinaro' is a
I think I know how she solved her problem of colliding strings.
On Jul 22, 2011, at 1:31 PM, Peter Nightingale wrote:
Van Lennep may have also struck a compromise based on the size of the
hands of lutenist for whom he made the instrument originally, and who
sold
it to me when she had had
Dear Eugene,
As Jacob H's name was brought up I'd recommend the Josquin CD instead
(or as well). One of Bakfark's finest settings is there and it's
interesting to hear how Bakfark differed from others when intabulating
similar material. For example, Simon Gintzler's and Albert deRippe's
. Many years ago I edited a substantial chunk of this material
but never got around to publishing it. Let me know if you're
interested to have any of it for playing with the addition of double-
slide music stand, bagpipe, etc.
Best wishes,
Martin
On 02/06/2011 17:51, Sean Smith wrote
Short answer, Anton: There are plenty of duos for 4th apart. and there
are plenty of duos for 5th apart. There has been little to no
information about how to pitch the smaller instrument --or even the
larger. Specify which and your playing audience will find the
instruments. I find 4th
://www.sociedaddelavihuela.com/en/
ed
At 09:10 AM 6/2/2011, Sean Smith wrote:
Short answer, Anton: There are plenty of duos for 4th apart. and there
are plenty of duos for 5th apart. There has been little to no
information about how to pitch the smaller instrument --or even the
larger. Specify which
involves regarding a G lute as a bass is a bit of a
joke.
On 02/06/2011 15:10, Sean Smith wrote:
Short answer, Anton: There are plenty of duos for 4th apart. and
there are plenty of duos for 5th apart. There has been little to no
information about how to pitch the smaller instrument --or even
Andrew Hartig has set up an all-things-cittern site at:
http://www.cittern.theaterofmusic.com/
have fun,
Sean
On May 27, 2011, at 2:14 PM, David Smith wrote:
I understand that 16th century citterns had metal (wire?) frets built
into the fingerboard rather than the tied-on frets used on
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