Dear Ed,
--- On Sun, 4/4/10, Edward Martin e...@gamutstrings.com wrote:
From: Edward Martin e...@gamutstrings.com
Subject: [LUTE] New cd by Anthony Bailes
To: lute@cs.dartmouth.edu
Cc: baroque-l...@cs.dartmouth.edu
Date: Sunday, April 4, 2010, 2:47 AM
The mensur is 76 cm (!!), quite
Vance,
Well said. About a year ago, I saw a documentary about ancient Greek
artifacts. (I'm not an expert in the field, but I assume from the tone of the
piece that content of the doc represents uncontroversial, mainstream science
and common knowledge within archeology.) It seems the
Ron, et al,
--- On Sun, 3/28/10, Ron Andrico praelu...@hotmail.com wrote:
From: Ron Andrico praelu...@hotmail.com
Subject: [LUTE] Re: HIP, was string tension of all things
To: vidan...@sbcglobal.net, lute@cs.dartmouth.edu
Date: Sunday, March 28, 2010, 7:36 AM
For instance, he
points out
Manolo,
It's in the Augsburg ms.
Chris
--- On Sun, 3/28/10, man...@manololaguillo.com man...@manololaguillo.com
wrote:
From: man...@manololaguillo.com man...@manololaguillo.com
Subject: [LUTE] Falckenhagen Duo in F major
To: Lute net lute@cs.dartmouth.edu
Date: Sunday, March 28,
Hi David,
--- On Fri, 3/26/10, David van Ooijen davidvanooi...@gmail.com wrote:
From: David van Ooijen davidvanooi...@gmail.com
Subject: [LUTE] Re: String tension
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Date: Friday, March 26, 2010, 4:50 PM
On Fri, Mar 26, 2010 at 8:17 PM,
There
What about the pieces in Goess? They have been brought up in this thread but
I'm still not clear if there's any consensus about AM's authorship.
Chris
--- On Tue, 3/23/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [LUTE] Re:
Mark,
--- On Sun, 3/21/10, terli...@aol.com terli...@aol.com wrote:
The right hand fingerings commonly
used by guitarists for the Carcassi studies are all derived
for Llobet's fingering.
Quite possibly, makes perfect sense. Unfortunately, Llobet did not become the
standard in the last
Thanks to all with your help in identifying the piece. If you at home guessed
Rondo in D, K. 485, you win! The thing that threw me off in finding this piece
was that Mozart used a different rhythmic notation in the first measure from
Carulli - I must have flipped right past it in haste. He
Hello all,
I know this is a little bit OT, but I could use some help with identifying a
piece. On my 19th century guitar, I'm playing Carulli's duo arrangement of two
pieces by Mozart which he has entitled Andante et Rondo de Mozart. The
editors of this particular edition have given no other
Hello all,
I know this is a little bit OT, but I could use some help with identifying a
piece. On my 19th century guitar, I'm playing Carulli's duo arrangement of two
pieces by Mozart which he has entitled Andante et Rondo de Mozart. The
editors of this particular edition have given no other
Thanks to all with your help in identifying the piece. If you at home guessed
Rondo in D, K. 485, you win! The thing that threw me off in finding this piece
was that Mozart used a different rhythmic notation in the first measure from
Carulli - I must have flipped right past it in haste. He
Mark,
Yes, but they don't make a habit of it in the same way. You'd never go from
string 1 with p to the 6th string with i in CG. Nothing wrong with that, its
just a different technique.
I currently have a new lute student (an accomplished classical guitarist)
who has no lute at the
Mark,
With thumb-under, such a string crossing may very well be done p-i. Its
very much like playing with a plectrum in which a downstroke on the 1st string
may need to be followed by an upstroke on the 6th. The TU lute player actually
has an advantage over the pick player in that while
(Back to commercial recordings, not folks' 'tube submissions)
In my view, if you notice the reverb, its too much.
I'm also a big advocate of close miking. This is another thing that is
especially appropriate for a soft instrument like the lute, but is rarely done.
Its funny, I've done a fair
Joe,
A few reasons:
A) Because you'll rarely listen to a recording with your ear stuck up
against the speakers. The very nature of speakers adds an additional
acoustical environment. (Headphones are the exception.)
B) Because even the best microphone does not listen like a
Personally, aside from all talk of recordings, I'd much rather have a
professional give me a private performance in my living room than the shared
concert experience. If I could sit three feet away from Robert Barto, Nigel,
Ronn, Hoppy, POD, etc, and listen to them play, I'd be in heaven
Joe,
--- On Wed, 3/17/10, Mayes, Joseph ma...@rowan.edu wrote:
Not to be argumentative, but...
And why not? Its a discussion after all.
A) you will also rarely listen to any performer with your
ear pressed up against the strings. The very nature of
recording subtracts ambience, what they
Morgan,
--- On Wed, 3/17/10, morgan cornwall mcornw...@ns.sympatico.ca wrote:
Question to all. If thumb-under assists in playing
the double courses simultaneously and without double
striking, how did the baroque lutenists (or Dowland for that
matter) avoid this problem when they switched
Ned,
You're not alone at all. I'm in complete agreement with you. It seems to
me that the ideal place to record a lute of all instruments, is a controlled
environment like a recording studio where a touch of reverb can be added if
wanted. The long decay of a cavernous cathedral might
David,
My guess is that is not what we would call a theorbo at all, but rather a
bass lute probably tuned theorbo-like. All the strings would therefore be on
one neck and those chromatic basses could be fingered. Whether the tuning was
in A, G or something else and whether one or both of
Martin,
Very interesting! I had no idea that Torelli advocated the rest stroke
technique, but I've been experimenting with it myself the past couple of
months. My main reason for doing so is to try to get the arpeggio so fast as
to seem like a strum.
Clearly this is what Kapsperger
David,
You are a gentleman and a scholar - hearty thanks to you.
(Entering general discussion mode, with no direct references to your Bach
arrangements.) Your point is well taken about the clef changes being quite
historical. The primary reason so many clefs existed back in the day was
Martyn,
--- On Fri, 2/19/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
The continuing, if strange,
fascination single loops seems to
defy historical evidence and practical
experience.
Time to wake up that sleeping dog! Once again I'll jump into hot water and
point out that the
Fortunately for the soul, playing early music and being sexually active are
often entirely mutually exclusive pursuits. ;-)
Chris
--- On Fri, 2/12/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: Robert Spencer Collection
To:
Franz,
--- On Fri, 2/12/10, Franz Mechsner franz.mechs...@northumbria.ac.uk wrote:
From: Franz Mechsner franz.mechs...@northumbria.ac.uk
Subject: [LUTE] Re: Robert Spencer Collection
To: chriswilke chriswi...@yahoo.com, Monica Hall mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Its another vanitas picture. The character in the back row next to the
lovers - the one smiling while pointing to them and looking out at us - is
obviously gaunt and skeletal. This person probably represents death or disease
creeping into the midst of the group that is having such a good time
Nancy,
Yes, by no means bring up the matter to anyone if they don't ask you first!
Even with my swan neck or theorbo, I carry it up vertically against my body to
make it look as small and inconspicuous as possible whenever I'm in sight of
gate personnel. (NOW who's laughing at the guy
Ned,
I don't know the state of things at the moment, but I'll tell you my
experiences. Tell the folks at the counter that you want to check it at the
gate (NEVER, EVER, have them put it on the conveyor belt at check in!!!). When
you get to the gate, tell 'em you want to ask the flight
Dan,
No need to apologize. I tried to be as objective as I could. In using your
text as a handy example, I did not mean to make an example out of you nor cause
offense. In retrospect I can see how you might have gotten upset about my
comments. I figured this was a friendly open debate
Anthony,
--- On Sat, 1/30/10, Anthony Hind agno3ph...@yahoo.com wrote:
I have not read such blanket
performance proclamations in this
thread.
Sure you have. Many of them are almost at the subliminal level. I wish to
bring them to the surface.
One example: In the very email in
Dan,
--- On Fri, 1/29/10, Daniel Winheld dwinh...@comcast.net wrote:
Well, Chris, I still advise reading Mimmo Peruffo's web
page, The
Lute in it's Historical Reality, at least for the
information
assembled by a truly dedicated lifetime player, researcher,
string
maker.
I've read
Gut strings must have been fantastic. Isn't it a pity none survived so that no
one will never know how they actually sounded? Lucky we have these nice
synthetics...
Chris
--- On Thu, 1/28/10, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE]
Bruno,
For the first chord of a piece and other slow chords, I think it would be
best to follow Frescobaldi's advice. Piccinini is careful to recommend the
single blow technique in Chapter XXIX only in Correnti and in other places
where fast movement is needed (nelle Correnti in altri
Bruno,
It doesn't refer to chords. He uses arpeggiare specifically to indicate
a melodic ornament (tirate o passagi) played by alternating i and m over
another part played by the thumb. Piccinini uses the word pizzicata to
indicate broken chords. He goes into some detail explaining how
Howard,
--- On Thu, 1/21/10, howard posner howardpos...@ca.rr.com wrote:
But I agree with Andrew (if indeed he meant to make this
point) that
it's a mistake to extrapolate lute tone from the names of
harpsichord
stops, as the opposite conclusions you could draw from the
English
lute stop
Andrew,
This quote from John Gunn's The Art of Playing the German Flute (London,
1793) is very intriguing:
The performers of the _old school_ had much more of what may be called
_graces of the finger_, than the modern, which cultivates more the expression
and powers of the bow, and
Martyn,
--- On Wed, 1/20/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
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.
Yes. Also
I've seen Paul O'Dette use repeated rest strokes in the bass, sometimes for
fairly fast lines that I would take with p-i alternating (free) strokes. On
the other hand, I've seen Robert Barto occasionally use rest strokes in the
treble.
There are an awful lot of paintings (especially, but
Ron,
Good points. I'm working on exactly this point.
The main issue with true thumb-out is getting a decent and - far more
importantly - _consistent_ sound out of the treble strings. There clearly was
a marked aural difference between the too positions that the baroquenists
admired.
Danny
--- On Tue, 1/19/10, Daniel Shoskes kidneykut...@gmail.com wrote:
Not sure about your nearly all our
notable baroque luteniststs play
thumb under comment Ron. Barto started
thumb in but now plays thumb
out, as do Richard Stone and Nigel North.
I have seen Liddell and
Ed,
Right after I came out with my Hurel album, I received a private email from
someone who regularly contributes to this list. This was one of the first
comments I got about the project. In the rudest, most brusk manner, this
person told me A) What an awful job I had done with the
Hi all,
I'm in urgent need of some translations. Would anyone have and be able to
send me translations for any of the following (in whole or part)?
A) Kapsperger's own prefaces to the first and fourth theorbo books
B) Pittoni's short prefaces to his Op. 1 and 2 sonatas
C) Picinnini's
Hi all,
I'm in urgent need of some translations. Would anyone have and be able to
send me translations for any of the following (in whole or part)?
A) Kapsperger's own prefaces to the first and fourth theorbo books
B) Pittoni's short prefaces to his Op. 1 and 2 sonatas
C) Picinnini's
Franz, I like your style. On this list we tend to spend all day repeatedly
talking until we're blue in the face about trivial matters such as gut vs.
nylgut, whether one is allowed to perform 8 course lute music on a 10 course,
which temperament is HIPest, etc, etc. Good. These are things
David,
The word schrecklich is rarely helpful in constructive criticism. It may
only be used correctly in brutally honest criticism, but not in your case!
Nice job.
Chris
--- On Tue, 1/12/10, David van Ooijen davidvanooi...@gmail.com wrote:
From: David van Ooijen davidvanooi...@gmail.com
Valery,
My take on YouTube is that you take your chances when you post a video.
Its an open forum and anyone can make suggestions whether they are constructive
or not. (Yes, there are some jerks on there. Hopefully the folks on this list
will be more respectful and helpful.) For
Hi Franz,
I always try to include some positive constructive criticism when I comment
on people's things. This is tough to do, though. Things must be worded very
carefully in print or the most well-meaning advice can sound just mean. Of
course, there's always a good glob of personal
Dana,
--- On Thu, 1/7/10, dem...@suffolk.lib.ny.us dem...@suffolk.lib.ny.us wrote:
From: dem...@suffolk.lib.ny.us dem...@suffolk.lib.ny.us
Subject: [LUTE] Re: Transcription
To: Ed Durbrow edurb...@sea.plala.or.jp
Cc: Bruno Correia bruno.l...@gmail.com, LuteNet list
lute@cs.dartmouth.edu
Bruno,
My opinion regarding theorbo notation is for one staff in bass clef. With
only ten frets on the neck, you'll never have to go higher then three lines for
the rare passages that go up that high; with nothing below the tenth course in
this particular book, you'll only have one ledger
Bruno,
Oops, sorry! I obviously mis-read your message and thought you meant the
first theorbo book (this book uses 11 courses, anyway!). You clearly said lute
book. The two staves for lute music always seems a bit superfluous for me.
(Why do they do this? Is every single musicologist a
Ron,
--- On Wed, 1/6/10, Ron Andrico praelu...@hotmail.com wrote:
The conventional two-stave keyboard
transcription is probably the most
useful and appropriate format for
academic purposes.
Sorry, but I disagree. Transcribing Kapsperger's music on two staves makes as
much sense as
Rob, et al,
--- On Thu, 12/31/09, Rob MacKillop luteplay...@googlemail.com wrote:
Definitely the gut
11c. The 13c sound is very typical for today, but I
think in a decade or so it will be viewed
in the same way we view the
1970s recordings with big booming basses,
but this time
Hi all,
Its that time again - time for eggnog, fruitcake, extended time with extended
family, desperate last minute trips to the mall... and of course, theorbo music!
Here are two clips of (just in time) seasonal theorbo offerings:
My arrangement of It Came Upon a Midnight Clear con variazione
It's a guitar, as confirmed by Peter Autschbach's jazz recording. If you tried
to do what he did on a real lute, the results would be entirely different. (I
liked it, though.) On the other hand, I was disappointed that Contini's
arciliuto forte recording didn't seem to be particularly louder
OK, it has finally come to this ;-)
First, check out this modern abomination of many guitars:
http://www.youtube.com/watch?v=7ARQsw4ml8g
(Note that one puny bongo drum, played lightly by an inexpert player, can
easily cover up the sound of 50+ classical guitars.)
Then there's this example of
So... what's the magic tuning?
--- On Mon, 12/21/09, Roman Turovsky r.turov...@gmail.com wrote:
From: Roman Turovsky r.turov...@gmail.com
Subject: [LUTE] Re: Liuto forte
To: Eugene C. Braig IV brai...@osu.edu, lute@cs.dartmouth.edu
Date: Monday, December 21, 2009, 10:29 AM
Well, the problem
Mark,
--- On Sun, 12/20/09, terli...@aol.com terli...@aol.com wrote:
From: terli...@aol.com terli...@aol.com
Subject: [LUTE] Re: Liuto forte
To: lute@cs.dartmouth.edu
Date: Sunday, December 20, 2009, 9:30 AM
I write at the risk of being gummed to death by a horde of
irate lutenists:
Valery,
--- On Sat, 12/19/09, Sauvage Valéry sauvag...@orange.fr wrote:
Ok forte,
we can hear it, but sounds like a guitar (single strung for
the one he used).
So why not play the guitar ? modern and loud instrument you
can play with nails...
Really? I've found the modern classical guitar
Monsieur Mathias,
Nothing to it. I don't know exactly how accurate my tuner is and I frankly
don't care as long as it's in the ballpark. I never just go by the tuner;
there's always some degree of adjustment by ear so technically I'm never
strictly playing in any temperament. This is
Mathias,
No need to get testy. Ich äffe Sie nicht. I use my tuner to get my open
strings and frets about right in Kirnberger III, then I adjust slightly
according to what sounds good to my ear. What on earth would be funny about
that?
Herr Wilke
--- On Sun, 12/13/09, Mathias Rösel
I've found that Kirnberger III works pretty well. I used it for a while
although I'm back to ET nowadays.
Chris
--- On Fri, 12/11/09, Edward Martin e...@gamutstrings.com wrote:
From: Edward Martin e...@gamutstrings.com
Subject: [BAROQUE-LUTE] Re: D-minor tuning and ET? Remedy?
To: Mathias
Donatella,
It was called Acedia and was one of the seven deadly sins. Its usually
translated as Sloth in English, but denotes a spiritual as well as physical
listlessness.
Chris
--- On Wed, 12/9/09, Donatella Galletti do...@tiscali.it wrote:
From: Donatella Galletti do...@tiscali.it
Ed,
--- On Tue, 12/8/09, Ed Durbrow edurb...@sea.plala.or.jp wrote:
No
one is mentioned as having
caused the distress. Kind of like some
blues in a way.
Yes, blues is a great analog. I suppose much of it is melancholy of the hurts
so good variety. Acting suitably bummed has been de
Gary,
That's exactly what I said: Knowing this does not invalidate the
repertoire. Just because the context occasionally isn't particularly serious
doesn't mean the work itself isn't serious.
Chris
--- On Fri, 12/4/09, gary digman magg...@sonic.net wrote:
From: gary digman
--- On Thu, 12/3/09, Peter Martin peter.l...@gmail.com wrote:
From: Peter Martin peter.l...@gmail.com
Subject: [LUTE] Re: Renaissance Metaphors
To: Lute list lute@cs.dartmouth.edu
Date: Thursday, December 3, 2009, 9:54 AM
Reminds me of
Starless and Bible Black. King Crimson, via Dylan
Hi all,
Just out of curiosity, what is the objection to the term brise? Although
somewhat inelegant, it seems a fairly good and useful description of the the
style. Luthe, while used in its own day, isn't very helpful to those of us
today who want to know more about what the lute players
Howard,
--- On Sat, 11/21/09, howard posner howardpos...@ca.rr.com wrote:
Various lutes were played for millenia in the
Mediterranean basin
So Chris Wilkes still has a long way to go.
? I haven't been a part of this particular discussion. What exactly are
you implying? (Or is
--- On Sun, 11/22/09, howard posner howardpos...@ca.rr.com wrote:
That you have a long way to go before you can play a lute
for millenia:
Sorry Howard, that was from a different thread. Still, a long way to go...
Chris
To get on or off this list see list information at
Andrew,
I think the lute holding device is a valid option. I've thought of making
or adapting a similar contraption myself. There needs to be something out
there to help make things a bit more ergonomic and save the back after hours of
practicing. For me, all manner of holds, straps,
--- On Fri, 11/20/09, Eugene C. Braig IV brai...@osu.edu wrote:
I'm so old-fashioned, I even have a CD copy of this that
requires physical
storage space on a shelf.
What's a CD? Before my time I guess.
Chris
To get on or off this list see list information at
The thing that strikes me most at these lute tasting events is not how
different the instruments sound, but how similar. All of the lutes played by
Paul sound like Paul O'Dette playing a lute; all of the lutes played by Robert
Barto sound like Barto; Nigel: Nigel; Ronn: Ronn, etc. This is the
Jaroslaw,
It was the same at the Boston Early Music Festival Exposition. The Lute
Society of America had a stand with info and some recordings. There were lots
of other instruments to see and try: viols, recorders, harpsichords, etc.
Lute-wise, all I could find was a single very, very
Bernd,
I don't know anything about the pic. From his looks, I might guess
Dracula ;-).
The classical guitar right hand is typical of very many pictures of
baroque-era players.
Chris
--- On Sat, 11/7/09, Bernd Haegemann b...@symbol4.de wrote:
From: Bernd Haegemann
Dale,
--- On Mon, 10/26/09, Dale Young dyoung5...@wowway.com wrote:
There is the litho of the greatest
lutenist/composer ever, Adam Falckenhagen with his lute.
I was ready to have a beer with you until this. Its has been scientifically
proven that Hagen is the greatest lute composer of all
Great. This piece even outdoes Dowland: at one point the players switch their
right hands so that each is plucking what the other is fingering with the left
hand. Amazing coordination. I can't think of any colleagues I know with whom
I'd feel comfortable spending the hours needed to practice
David,
Thanks for this. Very interesting. You've certainly borrowed a lot from
that last guy. But keep practicing: you'll eventually get the hang of playing
properly left-handed ;-).
I'm curious about the cello, though. My understanding of the present
consensus of scholarly
Hi Ned,
You should definitely listen to some new recordings. One of the things I
find exciting about early music is that new information is constantly coming to
light that makes us re-think the way we approach the music. Entire genres that
were once dismissed as mere trifles can become
Guy,
There's a storm in somewhere in Hoppy's Vieux Gaultier CD taht they didn't
bother to take out. One of my all time favorite lute CDs.
Chris
--- On Mon, 10/12/09, Guy Smith guy_m_sm...@comcast.net wrote:
From: Guy Smith guy_m_sm...@comcast.net
Subject: [LUTE] Re: The End of the
Stuart,
--- On Mon, 10/12/09, Stuart Walsh s.wa...@ntlworld.com wrote:
But Crawford Young's ideas on plectra - on the face of it -
seem to fundamentally different from just about all other
plectra.. on any instrument. It's a bit like saying
of someone who plays the lute with gloves on:
David, et al,
Has anyone caught the irony of the fact that in our current musical
culture, the (very commercial) rock music crowd is inherently mistrustful of
recordings that sound too slick while we (very, very non-commercial)
classical and early music types obsess over making our
Ned,
--- On Sun, 10/11/09, nedma...@aol.com nedma...@aol.com wrote:
From: nedma...@aol.com nedma...@aol.com
Subject: [LUTE] Re: The End of the Golden Age
To: chriswi...@yahoo.com, lute@cs.dartmouth.edu, vidan...@sbcglobal.net
Date: Sunday, October 11, 2009, 10:50 AM
The rockers. .
.view
David,
That's the biggest problem of all with this sort of stuff - dead
seriousness. I forced myself to listen to all of this and found that there
were actually a few interesting moments buried in there between vast canyons of
superfluousness. Unfortunately the composer obviously took
--- On Tue, 9/29/09, howard posner howardpos...@ca.rr.com wrote:
Two other interesting things: it
appears that most people internalize
their native musical scale at around 9
months, the same time you
internalize the phoneme set of your
native language. And most people
Hey Luther, hang in there! I remember feeling the way you do when I first came
to the lute after years of guitar playing. I was used to popping in a store
and checking out their merchandise or getting a pack of strings off the rack.
It took me a while to realize the the culture of the two
Regarding temperament, I've always what people with absolute pitch think of our
various efforts. How would someone with perfect pitch perceive an Ab in F
minor in 3rd, 4th, 6th, 11th, or 32.9567 comma meantone? Would this person
hear a kind of real Ab, an out of tune Ab or some other species
Ray,
--- On Sat, 9/26/09, William Brohinsky tiorbin...@gmail.com wrote:
On instruments, like and especially the lute, where the
performer's
fingers are on the strings and corrections can be made
on-the-fly,
nothing that fits the definition of temperament is really
necessary.
Instead,
Hi Ed,
I was at the seminar in 2006 when Toyohiko talked about this technique.
I believe he is on the right track, but still not quite all the way there.
(I'm speaking in terms of re-creating as closely as possible the predominant
historical technique, not the quality of hi work.) As
Ned,
I've never seen any modern player do real thumb-out technique. Most
people, even the big guys, do as Jan does in the video: a sort of half thumb
that is neither in or out, but is more closely related to thumb-under in terms
of technique and tone. This, in spite of the fact that
David,
This reminds me of the Guitar Foundation of America convention I attended
in 2007. I went to a lecture with Greg Goodheart about the GFA's initiative to
get classical guitar programs in elementary and high schools. One of the big
obstacles mentioned was the fact that most of the
Suzanne,
--- On Thu, 9/10/09, Suzanne and Wayne angevin...@att.net wrote:
Once you've been lurking on this list for awhile, you
learn
that it has a male geek bias.
I can't believe this! I'm utterly shocked to be hearing this information for
the first time! Well, OK, let's put this to the
Omer,
I'm not exactly sure what to make of this. On the one hand, I believe in
an open discussion of ideas on this list. On the other hand, there are things
that perhaps would be better handled in private. A lot of the issues you
mentioned below deal with your personal preferences.
In our constant efforts to make the past seem less alien than it really is, we
moderns take gleeful delight in finding sexual references in all possible
places. (Note: all possible places is not meant to be taken sexually.
Taken sexually is also not meant to be taken sexually.) But isn't it
Jean-Michel,
You are right about Fleury. Grenerin and Bartolomi also seem to take no
regard for the re-entrant tuning of the theorbo, instead treating the top two
courses like a lute. These tutors all came out in France at a time when the
instrument was fairly new there. They all take
Dan,
Great idea. I think colleges/churches/concert venues should foot the bill
like they do with pianos and organs. They should also provide us theorbenists
with page turners like they do for keyboardenists. ;-)
Chris
--- On Tue, 8/11/09, Daniel Winheld dwinh...@comcast.net wrote:
Ned,
--- On Mon, 8/10/09, nedma...@aol.com nedma...@aol.com wrote:
(That is, as sure as
one can be; you're always at the
mercy of the attendants working your
flight that day).
More like the people working the gate. Usually the folks at the check-in
counter don't care and will let
Bruno,
Fronimo does a decent job. It is specific for a lot of lute-related
things, but is flexible enough for other uses. I used to use it for music (in
modern notation) I arranged for the classical guitar ensemble I coached.
Chris
--- On Mon, 7/27/09, Bruno Correia
Franz,
--- On Mon, 7/20/09, Franz Mechsner franz.mechs...@northumbria.ac.uk wrote:
When I played the
guitar, I often put a capo on 2nd (rarely 3rd) fret
for renaissance pieces transcribed from
lute because I felt they
sounded better like that.
I've seen a number of professional
David,
By counting strings and nut groves on Adam's instrument, I count 8 strings
on the fingerboard and 5 on the other pegbox. On the angelique on Roman's page
I count 14 strings on the board and 10 off. That's 13 vs. 24 strings. It
seems indeed that Falckenhagen's lute has only half
Roman,
And stepwise from the fifth course on down? This would give Mr.
Falckenhagen's thumb a bass of A, turning his C major chord into an Am7. A
rather improbable and tasteless sonority for anyone wishing to be depicted as a
galant gentilhomme.
Chris
--- On Fri, 7/10/09, Roman
Roman,
In that case he would have fingered the chord with the much more graceful
looking 1 and 2 or barre.
Chris
--- On Sat, 7/11/09, Roman Turovsky r.turov...@verizon.net wrote:
From: Roman Turovsky r.turov...@verizon.net
Subject: [LUTE] Re: [english 100%] Re: Erzlaute
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