On Jul 1, 2008, at 12:38 AM, LGS-Europe wrote:
I don't fly much, but when I do I prefer an extra seat for the
lute. This instrument in its case is just under 140cm, the other
one over 155cm. Size matters in small planes and taxis.
It certainly does. Toy planes are historically incorrect.
Tony Iommi picked up the guitar as a teenager, after being
inspired by the
likes of Hank Marvin and The Shadows.
Just like Nigel North.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Jun 30, 2008, at 4:14 PM, sterling price wrote:
You just might find the left hand fingerings easier on the fingers
than the ren-lute.
But be sure your arthritic joints can handle the right-hand
stretches. Imagine a few more courses on your nine-course.
--
To get on or off this list
On Jun 29, 2008, at 6:54 AM, Roman Turovsky wrote:
This strikes me as the second most useless remark ever made about
music, well ahead of the third-place opera in English makes about as
much sense as baseball in Italian. (H.L. Mencken)
You would reconsider the uselessness of it- if you ever
Professor Harold Hill wrote:
all this 'quibble' about how to play music is interesting but
pointless.
True enough. There's nothing more pointless than musicians who want
to know what they're doing.
--
To get on or off this list see list information at
On Jun 28, 2008, at 5:26 PM, Daniel Shoskes wrote:
As Ray Nurse said yesterday (and I know he was quoting somebody else)
A quick web search will turn up attributions to Elvis Costello,
Laurie Anderson, Frank Zappa, Robyn Hitchcock, Thelonius Monk, Miles
Davis and (don't ask me why) Woody
On Jun 19, 2008, at 8:18 AM, Roman Turovsky wrote:
A violin sonata by Georg Muffat modulates enharmonically from D
major to Bb major. There goes meantone out the window.
I have no idea what temperament Muffat liked, but those of us who
keep our renaissance lutes in some sort of meantone
On Jun 18, 2008, at 1:58 PM, Jean-Marie Poirier wrote:
Anyway, the bulk of historical evidence is clearly in favour of a
more or less equal temperament when considering fretted instruments
like lutes or viols,
As far as I know, the historical evidence consists mostly of:
1) Actual
Rob MacKillop wrote:
What lute and voice settings are there of poems by John Donne (a
long-time
favourite poet of mine)? I'm also interested in settings for viols
and voice
or voices.
Ferrabosco set The Expiration as So, so, leave off this last
lamenting kisse (the seventh song in
There's also:
William Corkine: Break of Day (Second Booke of Ayres)
John Hilton: A Hymn to God the Father
And see:
http://www.matthewwadsworth.com/Donne-info.htm
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Jun 16, 2008, at 3:45 PM, Rob MacKillop wrote:
Together with Marlow, Donne and Dowland shared the same female
patron, Lucy,
Countess of Bedford.
It must have been an interesting night.
--
To get on or off this list see list information at
On Jun 8, 2008, at 3:03 AM, Stewart McCoy wrote:
I have a vague memory of hearing
that Palestrina had a lute handy when composing.
If you google palestrina lute mass into google (without the quotes)
you should pull up a page of Jessie Ann Owens' The composer at work
from Amazon that
On Jun 8, 2008, at 2:46 PM, Stewart McCoy wrote:
The Amazon site gives a lot of detail about
Palestrina, and confirms that he used the lute while composing. Jessie
Owens' book certainly looks a good read.
I was mistaken in saying it was an Amazon site, BTW. It's Google
Book Search.
--
To
On Jun 6, 2008, at 5:37 AM, Eugene C. Braig IV wrote:
My experiences with ironing goose quill, at least a split quill,
have not
been good.
Maybe you should try removing it from the goose first.
--
To get on or off this list see list information at
You mean loaded gut is impossible?
On Jun 5, 2008, at 12:00 PM, damian dlugolecki wrote:
There is no way to change the specific weight or mass of a gut
string by chemical means. If someone
were to claim that there are ways to chemically change the gut to
make it heavier, that would be
On Jun 5, 2008, at 1:12 PM, Eugene C. Braig IV wrote:
Loading gut is adding physical mass by adding a substance denser
than gut, not chemically altering the gut itself.
If I'm not mistaken, loading is essentially infusing, which would be
process similar to dyeing. Perhaps I'm mistaken.
--
On Jun 5, 2008, at 2:44 PM, Eugene C. Braig IV wrote:
I don't think you are mistaken; however, that still would not
involve a chemical change of the gut material itself.
Does dyeing? The question, if I am again unmistaken, was whether a
process used for dyeing might incidentally increase
On Jun 3, 2008, at 6:24 AM, [EMAIL PROTECTED] wrote:
the lute
player on the cover of Hoppy's 'Vieux Gaultier' CD
(who's the artist?) plays an instument with the first
and second courses red but also the BASS string only
of the 7th course. All the other ones are pale.
Why?
Maybe as a
On Jun 3, 2008, at 6:11 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
Makes perfect sense for the 7th course. ...but the
top two? Those are probably the easiest two strings
to find.
Good point; I misread your first post.
--
To get on or off this list see list information at
On Jun 2, 2008, at 2:06 AM, Martyn Hodgson wrote:
How do do we (ie you) know, without prejudging the issue, that
1) the actual range of sizes of surviving instruments is much
larger This implies you are able to identify double re-entrant
instruments from single (not to mention
).
Domestic music making, especially with lutes, might well have not
reflected such a significant and discrete variation
--- On Sun, 25/5/08, howard posner [EMAIL PROTECTED] wrote:
From: howard posner [EMAIL PROTECTED]
Subject: [LUTE] Re: Choosing Strings
To: LUTELIST List lute@cs.dartmouth.edu
On Jun 1, 2008, at 5:58 PM, David Tayler wrote:
Perhaps the answer, as far as theorbos go, is to have a new
definition of theorbo.
What's the question, exactly?
Slim chance that everyone will agree on the definition, but perhaps a
collective attempt is the way to go.
I propose the
On May 25, 2008, at 12:46 AM, Martyn Hodgson wrote:
Very good mt dear Howard - but really not at all. I very much
welcomed your informed contributions as testing the envelope of
knowledge by citing early sources and organological data rather
than assertions based simply on personal
On May 24, 2008, at 6:52 AM, Martin Shepherd wrote:
I note with interest that Arto's calculator allows us to work out
the stringing for a 10m theorbo - what shall we say for the
fingerboard strings, only 5m?
Anything shorter than 3 meters is a toy theorbo anyway.
--
To get on or off
On May 24, 2008, at 10:26 AM, Gernot Hilger wrote:
Don't say that too loudly. You'll fall prey to Stephen Barber's
wrath. Ask Martyn!
I'm far more likely to fall prey to Martyn's wrath.
--
To get on or off this list see list information at
On May 22, 2008, at 10:02 AM, Peter Nightingale wrote:
Am I inviting trouble if I attempt Ed's barrel/blood knot with gut?
My experience with using leader is that gut is more likely than nylon
to break at the knot eventually, nylon more likely to slip. Neither
problem is serious and you
On May 15, 2008, at 9:29 AM, [EMAIL PROTECTED] wrote:
By the way, is it known, in which pitch Vivaldi's orchestra was using?
The short answer is no. To answer the question, we'd have to be sure
where he was when he wrote it (he toured around a great deal) and
assume he intended the pitch
On May 1, 2008, at 6:41 AM, Manolo Laguillo wrote:
In the DICCIONARIO DE INSTRUMENTOS MUSICALES, Barcelona 2001, under
'tiorba', the author of it, Ramon Andres, after mentioning an inventar
of possesions of Felipe II, the king of Spain, where two theorbos
figure,
Are we really talking about
On May 3, 2008, at 10:11 AM, The Other wrote:
Admittedly, I don't follow the news as closely as I should.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On May 1, 2008, at 9:50 AM, Mark Wheeler wrote:
To play the devil's advocate..
I doubt if music for the average 21st century teenager is any less
important
than it was in 15??. I don't think they would see it as merely an
extra.
Ron's point is that everyone in some levels of
On Apr 29, 2008, at 8:19 PM, Roman Turovsky wrote:
A friend of mine is wring a short article on the state of affairs
in contemporary composition for lutes/citterns, and he asked me to
assist in gathering the information.
I don't know whether the planned new lute composition index by
Lynda
On Apr 30, 2008, at 7:12 AM, Ron Andrico wrote:
When singing part music, a singer only had one part to read, and
did not have the luxury of scanning the complete score to see where
he or she could add bits here or there.
Neither does the first oboe player in an orchestra playing Handel
On Apr 27, 2008, at 11:42 AM, Dale Young wrote:
It was, however, the time when the best music was written for
it, ever.
1779?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Apr 19, 2008, at 2:02 AM, Peter Martin wrote:
I don't know who the SCA are,
There's your problem. Had you known you were dealing with the
Society for Creative Anachronism, you'd have known pretty much what
you needed to know.
--
To get on or off this list see list information at
On Apr 17, 2008, at 8:38 AM, [EMAIL PROTECTED], apparently in all
seriousness, wrote:
And I defy you to come up with one honest, factual example of Rush
Limbaugh actually lying versus him merely presenting an informed
opinion that differs from yours.
For outright falsehoods, try:
On Apr 17, 2008, at 11:05 AM, Rob MacKillop wrote:
Re the German Lute Society's Fundamenta der Lauten-Musique und
Zugleich der Composition, Rob wrote:
Is there any possibility that this will be translated into English?
It comes with an English booklet. Here are some excerpts of a review
After I quoted parts of my review of Fundamenta der Lauten-Musique
und Zugleich der Composition someone asked if the shortcomings of
the English fascicle were such that I'd recommend against buying it.
The answer is a qualified no. It's a valuable book, offered for a
mere 15 Euros, and
On Apr 17, 2008, at 6:25 AM, [EMAIL PROTECTED] wrote:
Jim wrote:
Fact-checking takes time, and editors must be paid, so accurate
reporting is
time- and labor-intensive. Today's blogosphere, which rewards
unschooled
right-wing loudmouths who spew half-truths and worse, has no
A propos of the Snopes Urban legend web site, I meant to mention that
you can find a debunking of a truly idiotic story (a column in the
Houston Chronicle) about Itzhak Perlman playing an entire concerto on
three strings at:
http://www.snopes.com/music/artists/perlman.asp
To get on or
On Apr 17, 2008, at 1:26 AM, Rob MacKillop wrote:
I was going to write to him and the guy who wrote the article, but
thought
better of it. We reap what we sow. It's not the first time I've had
quotation remarks around comments I never made. Seems to be the way
reporters work. Nothing to be
On Apr 16, 2008, at 5:07 PM, David Rastall wrote:
There's more garbage in that one short article than you get on our
local tip in a year.
Agreed. I love the bit about these long-necked lutes called
continuos.
Click on the continuos link. It will take you to page with nothing
about
This particular piece is a version of a well-known tune called La
Gamba, which in many sources is called a galliard. If you play it
as galliard, the walking steps of the duple pavan fit perfectly. The
same is true of the triple-time pavan in Milan's El Maestro.
There was a tradition of
Tony is talking about a modern computer-typeset edition of the Hurel Ms.
On Apr 12, 2008, at 12:47 PM, LGS-Europe wrote:
Dear Tony
I have the 1996 Minkoff facsimile. In its colofon it says it is
printed with the permission of the Piermont Morgan Library, New
York, the owner of the ms. It
On Mar 29, 2008, at 10:52 AM, Arthur Ness wrote:
Where did Richafort find it?
In a registered letter from Henry VIII.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Mar 29, 2008, at 10:52 AM, Arthur Ness wrote:
Unless you
have some urge to talk about Leonardo da Vinci's wandering beard.
I just acquired such an urge, at least to the extent of understanding
the reference. What are we talking about?
--
To get on or off this list see list information
On Mar 25, 2008, at 6:28 AM, William Brohinsky wrote:
I seek advice and help: On a student's budget, is there a source
for scale
and chord studies, the basics that would make the relations of the
strings
make more sense to someone who has been linear-all-his-life?
Nigel North's book
On Mar 25, 2008, at 10:09 AM, Peter Martin wrote:
I guess this is the online Hurel facsimile that you were referring
to. but
can you give any guidance on how to open it? I am getting tied up
in an
unholy tangle of e-mules without much success
Use a different browser? Otherwise I
On Mar 25, 2008, at 3:22 PM, Stewart McCoy wrote:
The strangest chord I have ever seen was at the start of The
Creation by
a baroque composer - I forget which. To represent chaos, the first
chord
had the numbers 7 6 5 4 3 2, or possibly 8 7 6 5 4 3 2. Can't go
wrong,
really.
Les
On Mar 24, 2008, at 7:18 AM, Stewart McCoy wrote:
Modern ones use elastic or a kind
of spring mechanism
Not all. I have an earlier version of this one:
http://www.activemusician.com/item--MC.14FD?
ref=brovchn=BIZovtac=CMPovcpn=Accessoriesovcrn=Dunlop+Professional
+Guitar+Capo+%2D+Flat
The bearded percussionist is Pedro Estevan.
On Mar 23, 2008, at 10:02 AM, Sean Smith wrote:
Btw, is that Lee Santana playing percussion?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Mar 21, 2008, at 8:41 AM, Arne Keller wrote:
Especially the bass saxophone player is good.
It's a bass clarinet, but indeed sensitively played. I like the
singer too.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Mar 17, 2008, at 2:55 PM, igor . wrote:
diego ( i hope you are not italian )
is there any recorded tiorbino ?
Lee Santana and Wolfgang Katschner play two Castaldi theorbo/tiorbino
duets on Feast of San Rocco Venice 1608 (Sony s2k 66254)
Vincent Dumestre and Massimo Moscardo play four
On Mar 15, 2008, at 5:55 AM, Benjamin Narvey wrote:
The
fact that a generalist early music magazine chose my submission
bodes well
for us, in that it seems a kind of litmus test showing the interest
given
the lute from civilian non-pluckers.
Or perhaps yours was just far and away the
On Mar 5, 2008, at 3:09 AM, Thomas Tallant wrote:
Hor che Tempo is a lullaby, thus the droning quality of most of
continuo part. There is a shift in tonality and mood at the end
that is tricky. Overall, it's a deceptive piece: It's long and
difficult for the singer (technically and
On Mar 3, 2008, at 7:27 AM, Rob MacKillop wrote:
How much did lute players learn about music (not just lute playing)
in the
Renaissance and Baroque periods?
They learned what other musicians learned, and were educated in the
same ways. In the renaissance, they'd learn singing, the
I've clicked on this link using Safari and Netscape and all I've
gotten is an in-depth knowledge of Air India fares.
Any suggestions? There's a Hamburg-Rebekka-II-08.mp3
that looks something like a link, but it does nothing. Am I missing
something, or is this a Mac thing?
On Feb 26, 2008,
For Anthony and others with the same problem, this link worked for me.
On Feb 26, 2008, at 1:52 PM, Mathias R=F6sel wrote:
Here's
another place where I I've posted it:
http://de.share.geocities.com/mathiasroesel/Hamburg-Rebekka-II-08.mp3
Hope that helps.
--
To get on or off this list see
On Feb 14, 2008, at 1:15 AM, Peter Jones-RR wrote:
We talked about Barbara Strozzi and Francesca Caccini - does anyone
have
any other suggestions?
If you want to expand to solo motets, there's Isabella Leonarda
(1620-1704).
I suppose your partner is familiar with Barbara Garvey
On Feb 13, 2008, at 3:46 PM, Edward Martin wrote:
Generally, the lute in mid to later 17th century France was the d
minor
tuning. The top string was usually at f. For a length of 68 cm,
generally, a gut treble can go to f at a=415. If you exceed 68 cm,
the
standard for a probably
On Feb 13, 2008, at 6:42 PM, Edward Martin wrote:
Yes, the French seem to have played at a lower standard.
Well, let's not be unkind...
Even Hoppy
Smith's Vieux Gaultier recording was at 392.
I didn't know Hoppy was =06French.
--
To get on or off this list see list information at
because then you have the book on your own
computer. (If you have the space: it's nearly 49megs.)
The book is volume V of the 1911 Grove's, which contains T-Z and
the appendix. The entries on Vivaldi and Telemann say much about the
19th century attitude toward the 18th century.
Blows that theory...
Maybe the Weiss squad was just unusually vigilant.
On Feb 11, 2008, at 1:30 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
Nope. My YouTube submission just had the bit
about This is the Introduzzione by Weiss...
--
To get on or off this list see list information at
On Feb 11, 2008, at 11:39 AM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
(YouTube
wouldn't take it!)
Just curious: Was the sentence I guess I should have friggin'
checked the shot when I moved the camera closer! part of what you
sent to YouTube?
--
To get on or off this list see
Martyn Hodgson wrote:
I now see from your mention of my guitar stringing email that you
seem to equate 'information' solely with figures whereas I also
include other things such as tunings, examples of solo music, etc
which you do not count as information - we'll bear this in mind.
Monica Hall wrote:
I was tempted to point out early on in this discussion that skips
of a 7th and 9th in scale passages (known as campanellas)
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined. They are passages of notes that ring over other
notes
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined.
I didn't say that they are. What I said was
skips of a 7th and 9th in scale passages (known as campanellas)
are commonplace in baroque guitar music.
It is the scale passages that are known as
On Feb 6, 2008, at 1:10 PM, Rob Lute wrote:
Don't believe everything you read on the lute net.
Now you tell me!
Well, you didn't ask...
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Feb 6, 2008, at 12:37 PM, Monica Hall wrote:
Campanellas are a particular kind of scale passage in which each
note of the scale is played on a different string so that the notes
overlap creating a bell like effect.
Yes, I think we got the definition right on the third try.
In that
On Feb 4, 2008, at 12:36 PM, Roland Hayes wrote:
I seem to remember an archlute piece (Doni ms.) that does not
use a chanterelle. To me this implies that the first course was
problematic at times at least (a la french 11 c. pieces w/o
chanterelle)
and may have been replaced with a string
On Feb 2, 2008, at 7:14 AM, Daniel F Heiman wrote:
Only 800 views in over 5 months???
This performance is outstanding and deserves to be much better known:
Indeed, but the camera movement is pretty violent, and those inclined
toward motion sickness might want to listen with closed eyes, or
Martyn Hodgson wrote:
In subsequent messages I gave more information (you must have
missed it): - how such small instruments were strung (just top
course an octave down or at a much higher nominal pitch eg D), -
early written evidence of theorbo sizes, - examples of solo music
for
I have made the point before that we would expect an instrument
designed to be played at AF6 to have strings about 83% the length
of an instrument designed to be played at A=390. If so, all other
things being equal, you'd expect that a 76cm instrument designed for
AF5 to be tuned the same
On Feb 1, 2008, at 11:43 AM, Roman Turovsky wrote:
Well, in that case we should level the same charges against Hoppy
Smith, who both keeps country time and alters the performing
material.
RT
Yes, we should.
SAM
Has anyone, ever?
RT
Oh! Oh! Over here! I have! I have! Right on
On Feb 1, 2008, at 12:44 AM, Martyn Hodgson wrote:
Not really what I wrote, but...
No; as I said, I was giving more information than you did.
Perhaps I made assumptions as to the general level of knowledge.
In particular I took it as read that nobody believed that A or G
instruments with
On Feb 1, 2008, at 8:43 PM, Sean Smith wrote:
The movie itself didn't sync up because the actors didn't play the
instruments we heard. I confess I watched most of the movie with my
eyes closed.
True, the on-camera playing would have looked more realistic had they
used the Muppets, who
Martyn Hodgson wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature) and
generally really can't be bothered to continually repeat myself.
Let me see if I can summarize then:
There is no historical information
On Jan 31, 2008, at 9:56 AM, Jerzy Zak wrote:
I'm interested how one manages with the bass notes below the _d_ on
the 6th course of the instrument tuned in 'd'. This is more or less
one third of the statistical bass notes in an everage part to play
(depending of course on period and
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the it in your question is.
When Ensemble Chanterelle consisted of Sally Sanford, Cathy Liddell
and Kevin Mason, their basic setup was
On Jan 30, 2008, at 4:21 PM, Stewart McCoy wrote:
I can string it 6/8, 7/7, or 8/6. I used to have it 7/7, but a
broken string made me change to eight short and six long, and I've
stayed that way ever since. Even though I could have both a low F
and a stopped low F# available, I rarely
On Jan 30, 2008, at 6:53 PM, Arthur Ness wrote:
Surely examples in
Beethoven are the Battle Symphony, or as he himself admitted the
Amenda string quartet.
There's the famous story of someone telling Beethoven that everyone
was playing his Septet, and Beethoven responding that he wished
OK, gang: inquiring minds want to know.
Is there any historical source that correlates the size of a theorbo
with pitch, or tuning, or stringing (single/double courses, single/
double re-entrant)?
On Jan 28, 2008, at 5:44 AM, Martyn Hodgson wrote:
I'm merely pointing out that his advice
Well, maybe...
On Jan 25, 2008, at 5:47 AM, Stewart McCoy wrote:
I have been told, I hope reliably, that, if, at the time of
Dowland, you wanted to attack an army of soldiers armed with
muskets, you would first send a small group of soldiers ahead to
draw their fire. Before the enemy
I find it noisy and gimmicky; a lot of look-at-me that distracts from
the flow of a masterpiece. But that's a matter of taste, I suppose,
as is tolerance for the slop whenever he plays sixteenth notes.
But if he doesn't like the way Dowland ended the piece, he should
play another piece
Are you addressing moi, David? Your remarks follow mine, but they
don't have much to do with them.
On Jan 24, 2008, at 11:05 AM, David Rastall wrote:
I'm sure there's a lot of lute music that's inconsequential enough
that it's not a great sin to tamper with it, but Forlorne Hope
isn't in
On Jan 24, 2008, at 11:21 AM, Ray Brohinsky wrote:
I suppose playing only two notes of the last chord (and getting one of
them wrong)
I'm not following this reference. It sounds like you're describing
my playing, but I don't think you've ever heard me.
is a tremendouser sin than just
On Jan 24, 2008, at 12:33 PM, Dante Ferrara wrote:
My, my. We are an overheated lot tonight!
Not at all. It's midday here, and since it's the middle of one of
those notoriously brutal Los Angeles winters, I'm hardly overheated.
As none of us has ever met Dowland, we'll never know whether
Mark Wheeler wrote:
You are absolutely right, I personally have no problem with him
changing the
last chord, I also would not do it
Indeed...
but if he wants to why not.
Here's one reason why not: suppose I started this post this way:
Mark Wheeler wrote:
You are absolutely right, I
On Jan 24, 2008, at 2:20 PM, David Rastall wrote:
Here's another idea to throw into the mix: if one is not capable of
self-expression, how can one ever do justice to a work of such genius
as Forlorn Hope?
Hey, I am perfectly capable of self-expression, but I'd need extra
fingers on my left
On Jan 24, 2008, at 2:53 PM, David Rastall wrote:
No, no, you misunderstand me. I wasn't trying to insult you,
Ah, but it's you who misunderstands me. I didn't think you were
trying to insult me, or commenting about me. I was just pointing out
that self-expression without competence
On Jan 24, 2008, at 3:46 PM, Paul Kieffer wrote:
i have no problem, in this case, with the last chord at all. i
think that edin made this choice for his own artistic reasons that
are in his head. i think it would be disrespectul to dowland only
if edin made this choice to make the
On Jan 15, 2008, at 1:54 PM, Rob wrote:
so why do people choose to tune to G?
Is it purely because they already think 'in G', or is there another
reason?
G tuning (with the second course at lute pitch) seems to have been
common in England. Mace wrote that the theorbo was just a big lute
On Jan 14, 2008, at 10:45 AM, damian dlugolecki wrote:
I should have been more clear that I was interested more to know
why publication of lute songs in France
suddenly cease when the d minor tuning emerges.
It's curious don't you think? All those volumes by Ballard and
then nothing,
On Jan 9, 2008, at 3:25 PM, Daniel Winheld wrote:
And if I might add further to the Collective Confusion we have the
words of Ernst Gottlieb Baron:
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
And if I might add further to the Collective Confusion we have the
words of Ernst Gottlieb Baron:
As to the question of where to strike the strings of the lute so
that the tone will be powerful enough, it will serve to know that
this must be in the center of the space between the rose and
On Jan 4, 2008, at 5:37 AM, Ron Fletcher wrote:
He has recently discovered a book of 'bawdy drinking-songs' written
by Henry
Purcell, a composer we would not readily associate with this type
of music.
Of course we would. Purcell is known for his bawdy catches, they've
been performed
On Jan 4, 2008, at 10:25 AM, Christopher Stetson wrote:
Hey, let's not perpetuate the Victorian myth that the Puritans
didn't like sex,
Robert Adams, my favorite professor at UCLA (he was editor of the
17th century portion of the Norton Anthology of English Literature)
noted that
He said it in class. He never finished the sentence, and I'm sure
never planned to, knowing from long experience where the laughs would
come.
On Jan 4, 2008, at 3:09 PM, Stuart LeBlanc wrote:
Could I trouble you to provide the remainder of the quote
(beyond the ellipsis)? Or a citation.
On Jan 1, 2008, at 12:44 PM, Anthony Hind wrote:
and an engraving by Jan Lievens of a two-headed
lute player; and this certainly is an official portrait of Jacques
Gaultier.
More likely Zaphod Beeblebrox.
--
To get on or off this list see list information at
What I mean is: when performing that in an ensemble, what's the
point of the lute doubling one of the other parts?
Projection in a large performance space may have been an issue; it
could have been a way of creating a super-lute. spaces.
Haydn's piano trios often have a similar texture,
You call it a Picasso guitar.
From a review at http://www.allaboutjazz.com/php/article.php?id=27442
Certainly the use of the Picasso guitar for The Sound of Water is
an even more obvious display of the multi-dimensional musical mind of
Metheny. The forty-eight string instrument seemed less
801 - 900 of 1376 matches
Mail list logo
