Your plug or my review?
On Jun 1, 2009, at 10:08 AM, Roman Turovsky wrote:
Actually I found it rather sociopathic.
RT
On Jun 1, 2009, at 4:54 AM, Roman Turovsky wrote:
Your LSAQ TJohnson-TBurris review was just plain odd.
Thanks for the plug.
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On Jun 1, 2009, at 4:54 AM, Roman Turovsky wrote:
Your LSAQ TJohnson-TBurris review was just plain odd.
Thanks for the plug.
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On Jun 1, 2009, at 9:15 AM, chriswi...@yahoo.com wrote:
Composer/organist Max Reger had the best response to a bad review when
he wrote to his reviewer: I am sitting in the smallest room of my
house. I have your review before me. In a moment it will be
behind me.
Reger was actually
On Jun 1, 2009, at 9:49 AM, Roman Turovsky wrote:
before you really set out to position yourself as a shallow critic:
you should at least try to acquaint yourself with Reger's music (a
lot of it is rather grand, FYI...).
If I set out to position myself as any kind of critic, I'll do it by
On Jun 1, 2009, at 2:04 PM, Roman Turovsky wrote:
These are HOWARD POSNER'S OWN words about Reger:
Nice to see my name in bigger type than Reger's.
Nonetheless, this is the only famous thing Reger ever wrote, far
outstripping any of his music. It even conveyed a bit of immortality
on
John Wilson knew Purcell.
On May 28, 2009, at 3:04 AM, Jerzy Zak wrote:
Dear All,
Seemingly a simple question -- what would you play on the lute/
theorbo/guitar (or like to hear) in a program of Purcell songs, if
they are accompanied by such an instrument? Mace excluded, as he is
another
On May 9, 2009, at 3:12 PM, chriswi...@yahoo.com wrote:
In all seriousness - WERE there even left handed people around at
this time and in this culture?
Before my time I'm told, kids in American schools were ALL forced
to write with the right hand. Left handedness was not tolerated.
This
On May 8, 2009, at 9:24 AM, David Rastall wrote:
In the mid-Baroque (specifically Lauffensteiner), when you're playing
a minuet and trio, is it historically accurate to play them at
slightly different tempi, or is that strictly a Classsical-period
thing?
Someone who actually danced the
Can anyone think of a source other than Luis Milan in which the
tablature uses numbers with the high string at the top? I'm pretty
sure I've seen it, but can't recall where?
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I suppose I would have made it easier for everyone, particularly
Reinier de Valk, if I'd asked the actual question I'm trying to
answer, which is whether Milan's tablature can correctly be called
unique.
On May 7, 2009, at 10:22 AM, Stewart McCoy wrote:
There are four short pieces for the
On Apr 3, 2009, at 3:58 PM, Stewart McCoy wrote:
Please could someone explain the meaning of Passionate play is to
runne some part of the squares in a Treble (that is foure and
foure)?
Isn't he talking about alternating groups of four notes in division
passages?
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On Mar 30, 2009, at 9:01 AM, Monica Hall wrote:
Does anyone know if there is/was an earlier version of
Hippolyte et
Aricie i.e. before Rameau's opera with this title? Either as an
opera or ballet?
The large French ms. of baroque guitar music F:PnMs.Res.F844
includes a
Say what you will about Los Angeles Times critic Mark Swed's review
of the English Concert in this morning's paper, it at least
concentrated on the important stuff. Here's the beginning:
The battle of the bands did not go so far as theorbos at 10 paces.
It’s a good thing too. Those
Ken Be lives in Omaha now. I couldn't tell you whether he's
interested in teaching.
On Mar 24, 2009, at 8:45 PM, jeffrey bunce wrote:
Hello All,
I was wondering if anyone knows of any lute teachers in the
Omaha,
Nebraska area. Thanks. J.B
The Lute Society (UK) has published 58 Very Easy Pieces for
Renaissance Lute, graded in difficulty, along with a recording of the
pieces by Jacob Heringperson called Blame Not My Lute. You can get
both from the Lute Society website for ten pounds (less if you're a
member) and sample or buy the CD
I've used Michelangelo Galilei's toccatas in solemn moments during
services. I'd avoid anything by Gershwin or the Rolling Stones.
On Mar 23, 2009, at 2:56 AM, David van Ooijen wrote:
I often choose from Vallet's preludes and psalm settings. It's
beautiful music, appropriato for the occasion,
On Mar 21, 2009, at 9:21 AM, chriswi...@yahoo.com wrote:
This might have something to do with the fact that I once had a
couple of otherwise fine bass strings unexpectedly snap on my
theorbo as I was using a lighter to finish the fret knot.
Maybe you should invest in a soldering iron.
On Mar 19, 2009, at 7:14 AM, Martyn Hodgson wrote:
We seem to be at cross purposes: what I call 'pulling it (the
string)
sideways' is what you, I think, call 'bending'.
You're not, and he isn't. He's specifically describing axial motion
(parallel or along the axis) in contrast to the
On Mar 16, 2009, at 4:58 AM, David van Ooijen wrote:
'Te hee hee'
is a giggle (perhaps slightly suppressed if it happens where
laughing is appropriate)
Like ho ho ho/LOL/LOLFTOL, or is there more to it?
Ho ho ho is a full-bodied laugh, or belly laugh. Associated with
large, jolly
On Mar 15, 2009, at 9:28 AM, Peter Jones wrote:
They are out of copyright (at least, they are here in the UK - I
think the situation is different in the USA
Really? Doesn't copyright last 70 years after the death of the
artist in the UK? Gerwig died in 1966.
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As long as the subject has come up, the bass rider on my 13-course
broke off some time ago. It looks as if it didn't come apart at a
glue joint; the wood itself seems to have split. The break was
repaired once before, probably with hide glue, but it didn't hold.
I'm finally getting tired of
On Mar 15, 2009, at 6:11 PM, Alexander Batov wrote:
If you really value your lute you'd better never use ANY synthetic
glues
How can I really value a lute that has a broken bass rider? Many's
the time I've thought about taking it out back and shooting it. But
I'd have to buy a gun first, so
I think I've gotten the message. No superglue do-it-yourself
repair. Unless someone has a radically different opinion, I'll
consider the subject closed. Thanks.
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On Mar 15, 2009, at 6:45 PM, Daniel Winheld wrote:
Anyway, lutes are no fun to shoot. Stumps, beer cans, and watermelons
are all much better.
I've never been able to get a decent sound out of a stump or a beer
can. A ripe watermelon is resonant, but useless for polyphonic music.
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On Feb 27, 2009, at 11:54 AM, Anthony Hind wrote:
How do you account for small lutes like the Vienna Frey, without
the loading theory?
Lute in A?
In G at high pitch?
Big honkin' monster soprano lute in D?
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On Feb 27, 2009, at 12:50 PM, Stewart McCoy wrote:
People end up thinking that's all he had to say, that
he was eccentric, cranky, unreliable, to be treated with caution, etc.
Nothing could be more ridiculous. Mace was a player of the lute, viol
and theorbo, a composer, an enthusiast, and he
On Feb 22, 2009, at 1:12 AM, Martyn Hodgson wrote:
You say that Praetorius doesn't mention pitch (tho' many might
disagree with you) but then go on to relate your derived size of
79cm to modern practice and thus draw insecure conclusions.
My conclusions are not insecure, but rather downright
On Feb 22, 2009, at 9:11 AM, David Rastall wrote:
The current topic under discussion of toy theorbos has failed so
far to answer the one question without which there is no basis for
discussion at all, namely, what size does a theorbo have to be so
that it can no longer be called a toy
On Feb 19, 2009, at 6:12 AM, Roland Hayes wrote:
What about the Castaldi duets? What tuning for the smaller
instrument? R
Just like the big one, an octave higher
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Apparently by way 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?
On Feb 19, 2009, at 9:39 AM, Roland Hayes wrote:
So much for no double reentrant tuning on small theorbos. R.
On Feb 19, 2009, at 6:12 AM, Roland Hayes wrote:
What about the Castaldi duets? What tuning for the smaller
instrument?
R
Just like the big one, an octave higher
Well, if
On Feb 19, 2009, at 2:59 PM, Mark Wheeler wrote:
I accidentally hit the send button before I got round to actually
writing
anything in the last post...
I thought you were just being extremely concise.
As far as cranking the string up, there are historical accounts of
this
Robinson
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
double reentrant in A or G)
On Feb 17, 2009, at 12:19 PM, Mark Wheeler wrote:
To be fair to Martyn, he is merely using one of the fundamentals of
historical lute stringing, the highest string is tuned to the
highest pitch
that is possible with the thinnest useable string.
* * *
This is what they did back
On Feb 17, 2009, at 3:42 PM, Stewart McCoy wrote:
There are various 17^th-century sources which tell us things about
theorboes, but it is futile to dismiss them all out of hand, just
because they don't happen to have exactly the wording we want, or
because what they say doesn't
On Feb 17, 2009, at 5:43 PM, chriswi...@yahoo.com wrote:
How many of us really follow this fundamental of lute stringing
today? We tune our instruments to arbitrarily agreed upon pitches
like 415, 392, 440 etc because its practical. If we were to do the
truly historical thing, Jeff's G lute
On Feb 16, 2009, at 11:50 AM, chriswi...@yahoo.com wrote:
I currently have plain gut on my A-tuned 76cm theorbo.
Is that what you were using on the Hurel recording?
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The web gremlins made my equals sings into chutney.
On Feb 16, 2009, at 12:10 PM, howard posner wrote:
As far as I can
tell, if Martyn thought about such things, he would say my theorbo is
a toy at A92, definitely not a toy at AD0, and probably not a toy
at AA5, before realizing
On Feb 15, 2009, at 3:22 AM, Andrew Gibbs wrote:
Is there any evidence of what temperament the lutenist and singer -
I'm thinking mainly of late 16th c lute songs - would have agreed
on? Would the lutenist tune to get close to the temperament the
singer had trained to sing in (just
On Feb 10, 2009, at 4:52 AM, Martin Shepherd wrote:
2006 Paul Beier on Stradivarius
Quanta Beltà: Francesco da Milano and Perino Fiorentino
Stradivarius 33787
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On Feb 9, 2009, at 1:48 PM, Eugene C. Braig IV wrote:
of course, a reversal
of original art in the engraving process was common comfortably
into the
19th c.
And well into the 20th, and for all I know, the 21st. It's always
been a rule of newpaper layout that people in pictures shouldn't
On Feb 8, 2009, at 1:07 AM, Anthony Hind wrote:
Yes, I have those too, but by looking at a detail, you miss the
general point, I was making. That dilettanteism is relative, and
Jacob is more of a specialist than most. This has probably lead him
to develop his very elegant renaissance RH
I'm finding this increasingly difficult to follow.
On Feb 7, 2009, at 3:33 PM, David Tayler wrote:
But my idea is much simpler.
Say you have a bunch of lutes in a museum.
Some of them are fakes. But because they are the good fakes, not the
ones that say Kmart on them or are made with Ace
On Feb 7, 2009, at 9:29 AM, Anthony Hind wrote:
I can think of professional players who do limit themselves to
Renaissance lutes, Jacob Heringman, and this
does seem to have allowed him to develop an extremely elegant
Renaissance RH position.
A quick look through my CD collection shows that
On Feb 5, 2009, at 2:24 AM, David Tayler wrote:
I'm talking about the fakes that no one knows are fakes--the thirty
percent that we know must be fakes, but we don't know which ones
they are.
If no one knows they're fakes, how do we know they must be fakes?
Here's Mark Twain writing about
On Feb 5, 2009, at 2:28 PM, David Tayler wrote:
That is hilarious.
Yes, and the rest of the piece is even funnier, but I hope you notice
the similarity between your:
the thirty
percent that we know must be fakes, but we don't know which ones
they are.
and Mark Twain's:
One of the
On Feb 3, 2009, at 12:47 PM, Eugene C. Braig IV wrote:
Darwin recognized that individuals don't adapt.
I think what Darwin recognized is that acquired adaptations aren't
passed on genetically, which is a
How do gut strings mask incompetence?
And if a particular brand of gut strings mask incompetence better
than others, where do I get them?
On Feb 2, 2009, at 9:22 AM, Roman Turovsky wrote:
However gut has been used lately to mask various forms/degrees of
incompetence.
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On Jan 30, 2009, at 5:03 AM, mathias.roe...@t-online.de wrote:
it's amazing to me, indeed, how a baroque piece that starts with a 7th
in the opening chord, comes to your mind just like that.
It starts with a tone cluster, and it comes to mind because it's
famous. It's famous precisely
The server didn't like my dash.
This should read:
It starts with a tone cluster, and it comes to mind because it's
famous. It's famous precisely because it's unique -- a composer
trying
to make the most atypical, anarchic sound he can make -- and thus
useless as a model of normal
Rebel's Cahos is not really to the point, since it is a depiction of
primordial Chaos. Mathias was questioning a dissonance that was
presumably intended for the composer's well-ordered French universe.
On Jan 29, 2009, at 2:39 PM, Jerzy Zak wrote:
Some of you may know the famous French
On Jan 22, 2009, at 6:46 PM, Daniel Shoskes wrote:
It was lip synced!!
Chief Justice Roberts should have done the same.
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On Jan 21, 2009, at 2:41 PM, David van Ooijen wrote:
I didn't see a thing, nor heard anything, but read the news paper. It
said Yo-yo Ma would play a graphite/composite/carbon/??? cello if the
weather would be Stradivarius-unfriendly. Anybody know anything about
this instrument? I have to play
On Jan 18, 2009, at 1:11 PM, Mayes, Joseph wrote:
I don't know why the world of classical guitar is of such
interest to
this list
Perhaps because 90% of us are or have been classical guitarists?
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On Jan 16, 2009, at 12:01 PM, David van Ooijen wrote:
There's a new CD out with me playing a 10-course (all-gut) Renaissance
lute by Nico van der Waals.
Amazing. He used to make them out of wood.
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From Bob Clair, who is geographically unable to post at the moment:
Almost all baroque oboes are bilaterally symmetric. The seventh
finger key
for C has a symmetric touch key and the E
flat key is duplicated on either side. The double hole is not
slanted to
one side or another. You can
On Jan 9, 2009, at 3:17 PM, Leonard Williams wrote:
Or a left-handed wind instrument?
Yes. The left-hand-closest-to-body position on woodwinds was not
always standard. With a lot of simple woodwinds the design of the
instrument allows it to be played with the hands in either position.
The
On Jan 6, 2009, at 9:08 AM, Ron Fletcher wrote:
In the 45 minutes the musician played, only 6 people stopped and
stayed for a while.
Given that subway stations in the morning are filled with people
trying to get to work on time, this seems a pretty generous number.
The boss doesn't want
On Jan 5, 2009, at 12:20 PM, Guy Smith wrote:
I'm
afraid that I might have finally taken complete leave of my
senses, as
I am now in possession of one of those overly large lutes with
too many
strings (on loan, but...).
How long is it? If that's not too personal a question...
On Jan 4, 2009, at 3:53 PM, Christopher Stetson wrote:
Further, his fingering seems to have little to do with either the
placement of the frets or the music that his instrument produces.
Thanks for this scholarly musicological report. For those relatively
new to the list, who therefore may
On Jan 3, 2009, at 8:47 AM, Anthony Hind wrote:
I agree with you, being able to damp strings does not mean that
you have to damp them all the time.
It is something to be kept in the panoply of the lute player. If
you don't know how to do so, however,
you have no choice.
I add that I would
On Dec 28, 2008, at 7:19 AM, Arthur Ness wrote:
I've always wondered,
You and everyone else...
to what does the title Les Baricades
Mysterieueses refer?
One theory is that it refers to the the repeated suspensions in the
piece. Others are more fanciful. It's not the only baffling
On Dec 27, 2008, at 5:14 PM, David Rastall wrote:
but doesn't the English word
tocsin refer to the pealing of a bell?
Yes, but with the sense of alarm. You'd sound a tocsin in case of
attack or fire, not for celebration. That's in English, of course.
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On Dec 9, 2008, at 2:29 PM, Lex van Sante wrote:
However you should note that one cannot run Windows on a PPC- Mac.
I do it all the time using Virtual PC. Not exactly a perfect option...
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On Dec 9, 2008, at 4:47 PM, Lex van Sante wrote:
You mean you have actually been able to use Fronimo with Virtual PC?
I've never tried to use Fronimo.
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On Dec 8, 2008, at 6:54 AM, Spring, aus dem, Rainer wrote:
Would you strike through everything in a book?
It would be a great improvement in many books.
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On Dec 8, 2008, at 8:30 AM, Peter Nightingale wrote:
See Feynman:
http://www.youtube.com/watch?v=_EZcpTTjjXY
Fascinating, captain. A prominent scientist offering two minutes of
meaningless generalities without a single fact. Completely illogical.
Yours truly.
Mr. Spock
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On Dec 7, 2008, at 10:37 AM, Arthur Ness wrote:
This concept protects some
facsimile editions, as I understand. Thus according to Swiss law,
Mrs. Minkoff can claim copyright not only for the photography but for
the work itself. According to a notice** in her edition of the Siena
MS, it is
On Dec 4, 2008, at 12:12 PM, Daniel Winheld wrote:
I glibly assumed (and mentioned
in an email to Stewart) that orpharians bandoras would have had ET
frets, based on my memory of pictures of the Rose the Palmer
instruments- but now I don't trust what I might have missed, since I
wasn't
On Nov 26, 2008, at 2:32 PM, David Tayler wrote:
When driving to a concert,
my windshield wiper blew off in a driving rainstorm.
Why was your windshield wiper driving to a concert?
Visibility was
zero, I tied the wiper on with a gut treble.
And how did it sound?
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So, is the angel in the upper left of this panel from the Sistine
Chapel giving the prophet Zechariah the fig? And did Michelangelo
give Zechariah Pope Julius II's face?
http://www.abcgallery.com/M/michelangelo/michelangelo49.html
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On Nov 9, 2008, at 3:56 PM, [EMAIL PROTECTED] wrote:
Look, if I wanted to read this kind of crap, I'd frequent the
classical
guitar list. This makes this list not worth it for me. With great
reluctance, I have to conclude that, put plainly, either igor
goes or I
go.
Might I
Who is this?
http://www.youtube.com/watch?v=sG0Hqi8BQYMNR=1
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Actually, this has come up a few times here. At least one of the
listers is a curator. Sorry you had to lug the drum along for nothing.
On Nov 8, 2008, at 6:16 PM, David Tayler wrote:
It is with a mixture of revulsion and delight that I relate the
enzymes of choice for this task acknowledged
On Nov 3, 2008, at 5:11 PM, Roman Turovsky wrote:
And in Russian figa is an obcene gesture of a masculine nature,
consisting of the thumb protruding between index and middle fingers
in a fist.
The fig in English is the same gesture. It comes up a few times in
Shakespeare.
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Mace actually warns of the dangers of plopping down carelessly on a
bed with a lute in it, remarking that he has seen several lutes
spoil'd with such a trick or words to that effect. I used to have
the passage glued to my lute case, but that was a couple of decades
and a couple of baroque
On Nov 2, 2008, at 9:06 AM, ml wrote:
hi, Howard,
what do you mean with passage glued to my lute case?
I mean I photocopied the pages from Mace, cut out the parts about
keeping the lute in a bed but being careful not to flop down on it,
and glued them to the case.
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It's in Volume 7 of the Garland Press English Song 1600-1675, along
with a couple hundred pages of Wilson's songs.
On Oct 6, 2008, at 5:41 AM, Gmail Manuel Minguillon Nieto wrote:
Which is the fastest and easiest way of getting John Wilson
Preludes from manuscript of the Bodleian
Matthew Spring has done a modern edition of the solo pieces in tab
and keyboard transcription
http://diapason.xentonic.org/dp/dp049.html
On Oct 6, 2008, at 7:13 AM, howard posner wrote:
It's in Volume 7 of the Garland Press English Song 1600-1675, along
with a couple hundred pages
On Oct 3, 2008, at 1:21 AM, David Tayler wrote:
Having said that, England was famous for its eye rhymes
You mean all over the Continent in 1600, poets were saying You've
got to go to England and try the eye rhymes?
Or do you mean that modern readers/listeners are struck by the number
of
Maybe we're talking nonsense because we haven't defined our terms.
Or maybe you assume a clear dichotomy between blending and not
blending; the world is a more complicated place than that.
Indeed, I think the whole notion of a single sound ideal for all of
Europe for a century or more is
On Sep 29, 2008, at 4:22 AM, Mathias Rösel wrote:
Hope that helps so far, as for chapters and verses.
So if I understand correctly, the answer to my question about who
mentioned Spaltklang is that it was 20th-century German
musicologists interpreting the intent of earlier musicians without
On Sep 28, 2008, at 5:57 AM, Mathias Rösel wrote:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
The museum's iPod 8)
And
On Sep 28, 2008, at 12:24 PM, Arthur Ness wrote:
He argued that Segovia was lying
when he bragged to have commissioned the first guitar concerto of
the 20th
century.
What was this concerto Segovia was supposed to have commissioned?
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On Sep 27, 2008, at 2:39 PM, Mathias Rösel wrote:
Once you put the lute into a broader frame of 16th century
ensemble, one
might argue that there _was_ kinda ideal sound. On my way through the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
On Sep 26, 2008, at 11:40 AM, Jeffrey Noonan wrote:
Segovia was merely trying to keep up with the other international
virtuosi of the day (Landowska, among others ), who were unearthing
and performing old, obscure masterpieces--sometimes actual
historical pieces, sometimes new compositions.
On Sep 26, 2008, at 1:03 PM, Sauvage Valéry wrote:
I already tell my opinion on this, and ask luthier about it . Any
luthier on the list ?
The matter of taste of ancient players and listener is unknown now.
You can quote this or that, and who knows what else was said ?
(same with nails
On Sep 25, 2008, at 11:16 AM, Sauvage Valéry wrote:
And the other evidence (speak with some luthiers) is to try to play
the strings in different places and hear where sound is the best
(objectively, not just as an idea of your ideal sound) Of couse it
depends on the lute, strings and
Leonard Nimoy did indeed take the live long and prosper hand
position from the Birkat Kohanim (Blessing of the Priests)
traditionally said over the congregation by the priests (which is
to say, men descended from priests, the Jewish priesthood having been
otherwise unemployed since the
On Sep 18, 2008, at 10:59 AM, Ed Durbrow wrote:
When you say it is difficult for you to turn your left hand
completely over, I don't understand what you mean,
Nor I, but it reminds me of The Exorcist.
but if you mean it is difficult to reach around and touch the
frets, you are probably
On Sep 17, 2008, at 5:24 AM, Nigel Solomon wrote:
Even though most surviving theorbos are strung 6 + 8, does anyone
know of any originals strung 8 + 6 as many modern players seem to
prefer?
There are some instruments in the Lute Society of America's database
that appear to be theorbos
I believe the remaining pieces are from the Chilesotti Lute
Book (Da un Codice Lauten-buch), a book of musicologist Oscar
Chilesotti's transcriptions of a lute manuscript, which was published
in 1891. The original lute book has not been available publicly, if
at all, for more than a century.
On Sep 4, 2008, at 12:52 PM, Joshua Edward Horn wrote:
I have a question about Theorbos. First off, how it's it pronounced
(there-o-bo)???
Thee-oar-boe, with the initial th as in thick.
and 2nd are the extended strings off the body just plucked and
that's all they are used for?? (no
On Sep 4, 2008, at 1:11 PM, Rob MacKillop wrote:
Looks like an American accent, with that oar in there, Howie. I
would say Thee - or - boe.
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On Sep 4, 2008, at 1:11 PM, Rob MacKillop wrote:
Thee-oar-boe, with the initial th as in thick.
Looks like an American accent, with that oar in there, Howie. I
would say Thee - or - boe. But what do Scots know? [Don't answer that]
Most Americans would pronounce the two spellings the same
On Aug 21, 2008, at 3:01 AM, Taco Walstra wrote:
Maybe it's time that Ritchie should bring out a CD with songs by
Campion or
Dowland. There is perhaps a croatian lutenist available to play the
lute
part.
Martin Barre is Croatian???
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On Jul 12, 2008, at 12:37 AM, David Tayler wrote:
You can see the results here for comparison, with the caveat that
this was a very dark room (noticeable grain):
youtube
http://www.youtube.com/watch?v=dcRhaf1i59k
vimeo
http://www.vimeo.com/1318410
Note that this is the *exact* same
On Jul 7, 2008, at 8:46 AM, William Brohinsky wrote:
Folks, please forgive me, and let this subject drop, now? I had no
intention
of stubbing toes, firing up rwars, or causing people to point fingers.
It is now obvious to me that I did not make the case for what I
want to do
clearly
On Jul 7, 2008, at 2:43 PM, William Brohinsky wrote:
Give me a nice tame electron...
Now I think you're addressing your request to the wrong group.
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On Jul 6, 2008, at 1:27 PM, William Brohinsky wrote:
All of which is said because I really want to be able to
demonstrate that I
could play that theorboed lute as a theorbo when I audition in a
few months.
I've been working the top six courses as an exercise with my classical
guitar
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