sound, tho', as if the thing had been nicked!
regards
Martyn
__
From: David Van Edwards da...@vanedwards.co.uk
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Sent: Saturday, 22 June 2013, 10:30
Subject: [LUTE] Re
- Forwarded Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: David Van Edwards da...@vanedwards.co.uk
Cc: 'LuteNet list' lute@cs.dartmouth.edu
Sent: Friday, 21 June 2013, 8:16
Subject: Re: [LUTE] Re: The golden rose
Dear David,
I was under the, perhaps
or vibrato
MH
From: Mathias Roesel mathias.roe...@t-online.de
To: baroque-lute mailing-list baroque-lute@cs.dartmouth.edu
Cc: Lute List l...@cs.dartmouth.edu
Sent: Monday, 27 May 2013, 19:34
Subject: [BAROQUE-LUTE] Re: Pierre Gaultier in 1720! Old early music?
And Thompson's 1829 design for an enharmonic guitar also required
different positions (ie non-straight frets) for each fret/string
intersection.
Of course, how one played such instruments when the music was in
anything more than just the tonic was never addressed so I guess
Well, not for the 6 string guitar as such. But the 18th/early 19th
century 6 course mandora/gallichon was mostly tuned in the identical
intervals (and by this date at the same nominal pitch with first course
at e') as the 6 string guitar and its music was mostly intabulated so
you
by
Ferandiere
MH
--- On Tue, 23/4/13, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [LUTE] Classical Guitar Music in Tablature
To: lutelist Net Lute@cs.dartmouth.edu, Edward Chrysogonus
Yong edward.y
--- On Sun, 21/4/13, Ed Durbrow edurb...@sea.plala.or.jp wrote:
From: Ed Durbrow edurb...@sea.plala.or.jp
Subject: Re: [VIHUELA] Early romantic guitaRe: string height
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, lute list
lute@cs.dartmouth.edu
Date: Sunday, 21 April, 2013, 5
Dear Bill,
Many years ago, before I knew better, I made my first instrument with
a propriety wood glue 'Cascamite' which I thought at the time was a
cassein type adhesive (the similarity in the name). And it was
certainly strong, gap filling (benefit for a novice!) and took plenty
Dear Sterling,
I found it best to make my own to fit my own reamers. There are various
ways to do this - mine is:
Drill and ream a tapered hole in a piece of suitable wood (I used some
mahogany); plane down to get a parallel sided slit along the length of
the taper, cut and
Dear Martin,
Barley (1596) explicitly (The sixteenth Rule) requires 'For to play
foure partes .. the thumb and the three fingers
together,...'.
However, he also (The fourteenth Rule) describes a sort of mixed raking
play for six part chords whereby (as best I can
, Christopher Wilke chriswi...@yahoo.com wrote:
From: Christopher Wilke chriswi...@yahoo.com
Subject: Re: [LUTE] Re: Damping overspun strings.
To: Sam Chapman manchap...@gmail.com, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu Net lute@cs.dartmouth.edu
Dear Sam,
There are some other sources of damping besides Mace. In particular,
Von Radolt's instructions of 1701 (English translation in FoMRHI
Quarterly No 44 July 1986 , Comm 737) describe the 'etoufment'.
These signs ( c// ) indicate the Etoufement and are ordinarily
used
Dear Christopher,
You asked for observations on yr performance, and you are certainly
brave to ask for comments, here are mine:
You clearly have the necessary technical ability and virtuosity to play
plucked instruments (as we know from your lute recordings). However, I
really
, 2013, 14:58
Excuse my ignorance, but wouldn't support blocks under the bars be a
very possible source of buzzing? ..unless one used glue, in which case
top removal would be much more difficult?
-Original Message-
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
To: David
end supports on lutes
To: William Samson willsam...@yahoo.co.uk
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute builder
Dmth lute-buil...@cs.dartmouth.edu
Date: Thursday, 7 February, 2013, 16:39
Yes, as far as I have observed no lutes were made using support
blocks
Further to the recent mailings about using supports to the bar ends of
lutes (as commonly found on guitars) to avoid then becoming loose,
there were few responses and the gist seemed to bit that it was a good
idea and unlikely to injure the instrument's tone.
This may be the case,
be others.
regards,
Martyn
--- On Fri, 1/2/13, Pieter Van Tichelen pie...@vantichelen.name
wrote:
From: Pieter Van Tichelen pie...@vantichelen.name
Subject: re: [LUTE] Re: The English Guitar
To: WALSH STUART s.wa...@ntlworld.com, Martyn Hodgson
hodgsonmar
Dear Bill,
I'd love to see this pic of a big mandore - but get a message saying
the web page is unavailable.
rgds
Martyn
--- On Fri, 1/2/13, William Samson willsam...@yahoo.co.uk wrote:
From: William Samson willsam...@yahoo.co.uk
Subject: [LUTE] Re: chitarra
Dear Stuart,
I agree: it does clearly show 5 courses which, if a 'chitarra', would
make it a candidate to play the 'alla Spagnola' repertoire - except, as
you point out, no sign of octave courses much less re-entrant tuning.
Like you, I wonder if the instrument depicted is
:20
On Jan 30, 2013, at 1:05 AM, Martyn Hodgson
[1]hodgsonmar...@yahoo.co.uk wrote:
I'm sorry you feel so defensive - but what is there to complain
about
in what I wrote to you?
I'm just guessing here, but could it possibly be that you were the only
one on the list who
Dear Rob,
I think I know from where you're coming but suggest it's a great
mistake to try and stifle debate - and why would you unless you were
worried about what might emerge? Do please calm down and perhaps use
less intemperate language which could, indeed, itself escalate
Hall mjlh...@tiscali.co.uk
Subject: Re: [LUTE] Re: 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Tuesday, 29 January, 2013, 15:30
Contrary to what you suggest - we do know that chitarriglia is an
Italian
, and most of us, deprecate so
much.
regards,
Martyn
--- On Wed, 30/1/13, Rob MacKillop robmackil...@gmail.com wrote:
From: Rob MacKillop robmackil...@gmail.com
Subject: Re: [LUTE] Re: 6c guittar
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute lute
--- On Mon, 28/1/13, Davide Rebuffa davide.rebu...@fastwebnet.it
wrote:
From: Davide Rebuffa davide.rebu...@fastwebnet.it
Subject: Re: [LUTE] 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: pie...@vantichelen.name, Monica Hall mjlh...@tiscali.co.uk
Thank you Bill. Interesting - but what is it! Or, rather more to the
point, what did its player call it?
regards
Martyn
PS Alexander Batov has come up with some pretty convincing pics for
figure 8 Italian 4 course guitars.
--- On Tue, 29/1/13, William Samson
alexander.ba...@vihuelademano.com
Subject: [LUTE] Re: 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: pie...@vantichelen.name, Lutelist lute@cs.dartmouth.edu
Date: Monday, 28 January, 2013, 15:42
Martyn, Peter et all,
First of all, this particular
Italian
regards,
Martyn
--- On Tue, 29/1/13, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [LUTE] Re: 4 course guitar in Italy
To: Alexander Batov alexander.ba...@vihuelademano.com
Cc: pie...@vantichelen.name
to be
the
appropriate style for the 5-course instrument.
As ever
Monica
- Original Message -
From: William Samson [1]willsam...@yahoo.co.uk
To: Davide Rebuffa [2]davide.rebu...@fastwebnet.it; Martyn
Hodgson
[3]hodgsonmar...@yahoo.co.uk
Cc: [4]pie...@vantichelen.name
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date: Tuesday, 29 January, 2013, 13:15
Hello Martyn,
I understand perfectly well that the Tenier's picture has nothing to do
with the 'Italian representation', and I'd never meant to represent it
that way
Subject: re: [LUTE] Re: 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 28 January, 2013, 10:11
Hi Martyn Monica,
Finally I have managed to dig up
: [LUTE] Re: 4 course guitar in Italy
To: pie...@vantichelen.name
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
mjlh...@tiscali.co.uk, Lutelist lute@cs.dartmouth.edu
Date: Monday, 28 January, 2013, 10:37
Dear Pieter,
you are looking in the right way concerning
Martyn
--- On Mon, 28/1/13, Davide Rebuffa davide.rebu...@fastwebnet.it
wrote:
From: Davide Rebuffa davide.rebu...@fastwebnet.it
Subject: Re: [LUTE] Re: 4 course guitar in Italy
To: pie...@vantichelen.name
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Monica Hall
.
I hope we might see new 'discoveries' in due course.
regards
Martyn
--- On Mon, 28/1/13, WALSH STUART s.wa...@ntlworld.com wrote:
From: WALSH STUART s.wa...@ntlworld.com
Subject: Re: [LUTE] Re: 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar
--- On Mon, 28/1/13, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [LUTE] Re: 4 course guitar in Italy
To: Lutelist lute@cs.dartmouth.edu
Cc: Stuart Walsh s.wa...@ntlworld.com, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date
Dear Bill,
Do you know the precise date and nationality/origin of this picture? -
it looks to me early 17th century from the costume. We discussed it in
this thread before and wondered if it had much to tell us about the 4
course instrument Barberiis expected a century or so
course guitar in Italy
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lutelist
lute@cs.dartmouth.edu
Date: Sunday, 27 January, 2013, 16:23
Just because I feel devilish, and wish to wind everyone up...things are
just as bad in the 19th
.
And thanks again for your wonderful facility
Martyn
--- On Sun, 27/1/13, wayne cripps wst...@cs.dartmouth.edu wrote:
From: wayne cripps wst...@cs.dartmouth.edu
Subject: Re: [LUTE] Email freezes or goes very slow - length of
extensions/archives?
To: Martyn Hodgson
, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [LUTE] Re: 4 course guitar in Italy
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Sunday, 27 January, 2013, 16:13
The fact
___
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
Sent: 22 January 2013 10:05
To: [2]pie...@vantichelen.name
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Friday, 25 January, 2013, 9:06
On 25/01/2013 08:39, Martyn Hodgson wrote:
Dear Stuart,
You write 'I still don't see why you
Kind regards
Pieter
___
From: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
Sent: 22 January 2013 10:05
To: [4]pie...@vantichelen.name
Subject: [LUTE] Re: 4 course
...@vantichelen.name
wrote:
From: Pieter Van Tichelen pie...@vantichelen.name
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Tuesday, 22 January, 2013, 19:24
:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: Re: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 15:48
Well - feel free to get in touch
for
that reason.
Best
Monica
- Original Message - From: Gary R. Boye
[2]boy...@appstate.edu
To: Monica Hall [3]mjlh...@tiscali.co.uk
Cc: Martyn Hodgson [4]hodgsonmar...@yahoo.co.uk; Lutelist
[5]lute@cs.dartmouth.edu
Sent: Monday, January 21, 2013 5:26 PM
Subject: Re: [LUTE] Re
for
that reason.
Best
Monica
- Original Message - From: Gary R. Boye
[7]boy...@appstate.edu
To: Monica Hall [8]mjlh...@tiscali.co.uk
Cc: Martyn Hodgson [9]hodgsonmar...@yahoo.co.uk; Lutelist
[10]lute@cs.dartmouth.edu
Sent
Message - From: Gary R. Boye
[4]boy...@appstate.edu
To: Monica Hall [5]mjlh...@tiscali.co.uk
Cc: Martyn Hodgson [6]hodgsonmar...@yahoo.co.uk; Lutelist
[7]lute@cs.dartmouth.edu
Sent: Monday, January 21, 2013 5:26 PM
Subject: Re: [LUTE] Re: 4 course guitar in Italy - was Calata
..
--- On Tue, 22/1/13, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: 4 course guitar in Italy - was Calata de
StrAmbotto
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date
Dear Martin,
You may recall that quite some years ago it was generally accepted that
the vihuela (but not the viola) was strung in unison - I believe this
was a misreading of an early source and was explained through the great
wealth of Spain in the periof whereby such expensive
Dear Monica,
You write 'There('s) no hard evidence that the 4-course guitar was
played in Italy' and, of course, you're quite right.
But it was played in Spain, then a major influence in all Hapsburg
lands and in some Italian states as well as Naples. So I don't see it
being
instructions imply a unison 4th
course (but say nothing about the other courses).
I think it is wrong to assume that playing a string with the finger
rather than the thumb will emphasize one or other octave - it's all a
matter of technique.
All the best,
Martin
On 21/01/2013 10:44, Martyn
Dear G Abramovic,
I'd love to read what you wrote but all I got was this below! Is it
Wayne's system or what?
regards
Martyn Hodgson
--- On Mon, 21/1/13, G_abramovic g_abramo...@hotmail.com wrote:
From: G_abramovic g_abramo...@hotmail.com
Subject: [LUTE] Re
.
Best wishes,
Martin
On 21/01/2013 13:38, Martyn Hodgson wrote:
Dear Martin,
Thanks for this: I'll revisit Pisador's instructions and see what
they
imply.
Re your observation that 'I think it is wrong to assume that playing
a
string with the finger
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Date: Monday, 21 January, 2013, 13:54
Well - obviously the 4-course guitar was played in Spain although the
extent
to which it was played in the contrapuntal manner suggested by the few
Dowland is a subject on BBC Radio 3 (Music Matters 12.15pm) tomorrow. I
believe Peter Holman (amogst others) contributes - insights from a
non-lute player but a leading historical musicologist. And, of course,
director of The Parley of Instruments and of Opera Restor'd.
MH
--
Numerous intabulations of latin vocal music and songs with latin text;
often Ovid and similar settings (eg Muddara et al).
MH
--- On Tue, 11/12/12, Herbert Ward wa...@physics.utexas.edu wrote:
From: Herbert Ward wa...@physics.utexas.edu
Subject: [LUTE] Latin and lute.
Mimmo Peruffo (Aquila strings) and Nicholas Baldock have done work on
softer strings.
MH
--- On Fri, 30/11/12, William Samson willsam...@yahoo.co.uk wrote:
From: William Samson willsam...@yahoo.co.uk
Subject: [LUTE] Gut strings - The elephant in the room
To: Lute List
Indeed, I had thought this position was pretty much generally accepted
- the only issue being where to strike chords simultaneously and where
to roll.
I gathered there was a view that there was excessive rolling by some
modern players (on almost every chord - making it easier for
was achieved by loading.
But we've all been here before..
regards
Martyn
From: Shaun Ng shaunk...@gmail.com
Subject: Re: [LUTE] Lute bass strings - was Re: Are Pistoys prone to
rot according to Mace?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute
according to Mace?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date: Thursday, 29 November, 2012, 9:34
Dear Martyn,
Yes, I am aware of these things. The evidence for loading on strings
is? Or has the lute world already made a collective
strings - was Re: Are Pistoys
prone to rot according to Mace?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date: Thursday, 29 November, 2012, 9:42
I'm sorry Martyn, the thread is very long. Just mention the book,
image, quote, etc
When you write 'The better explanation for seemingly thin, coloured
strings on the basses of lutes...', what do you mean by
'better''?: - better in relation to the historical evidence (if so
precisely what)?; better for modern ears?; better for the cost?; better
than
Dear Shaun,
When you write 'The better explanation for seemingly thin, coloured
strings on the basses of lutes...', what do you mean by
'better''?: - better in relation to the historical evidence (if so
precisely what)?; better for modern ears?; better for the cost?; better
bass strings - was Re: Are Pistoys
prone to rot according to Mace?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Lute builder
Dmth lute-buil...@cs.dartmouth.edu
Date: Wednesday, 28 November, 2012, 11:38
I don't suppose we'll ever know for sure, unless somebody comes
--- On Fri, 16/11/12, Christopher Wilke chriswi...@yahoo.com wrote:
From: Christopher Wilke chriswi...@yahoo.com
Subject: Re: [LUTE] Re: Rolled chords
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Gary R. Boye
boy...@appstate.edu
Cc: WALSH STUART s.wa...@ntlworld.com, lute
Dear Stuart,
I agree with you that we need to be wary in our (modern) assessments of
many of these works.
For example, some of these lute 'solos', both by Dowland and other lute
playing composers, may be lute parts to a consort or a duet and can
seem strangely incomplete
the music.
Martyn
--- On Fri, 16/11/12, Christopher Wilke chriswi...@yahoo.com wrote:
From: Christopher Wilke chriswi...@yahoo.com
Subject: Re: [LUTE] Re: Re/deconstructing Dowland; - and 'rolled'
chords
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, WALSH STUART
s.wa
To: Christopher Wilke chriswi...@yahoo.com
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, WALSH STUART
s.wa...@ntlworld.com, lute lute@cs.dartmouth.edu
Date: Friday, 16 November, 2012, 15:38
Chris,
Interesting that you should bring up rolled chords; there was much
discussion on another
I think it means a cousin from the same family. Mace might then be
describing a relative
MH
--- On Mon, 5/11/12, Peter Steur p.st...@inrim.it wrote:
From: Peter Steur p.st...@inrim.it
Subject: [BAROQUE-LUTE] Thomas Mace and Cozen-German
To: Baroque Lute
www.Tree-Edition.com
++49(0)451 899 78 48
More Music Books at
[2]http://tree-edition.magix.net/public/
Am 22.10.2012 12:05, schrieb David van Ooijen:
I use Gimp. Bit of a learning curve, but very powerful.
David
On 22 October 2012 11:43, Martyn Hodgson
[3]hodgsonmar
Dear Anthony,
You write of Mace - 'Mace had a very strong preoccupation with rotten
gut, clearly from personal experience (although I have never
encountered this problem), and he therefore gives detailed advice on
how to store strings to make sure they don't take any wet, or moist
Dear Stuart,
I'd argue that many of these are 'lutes', such as mandores, some
gitterns, theorbos, chitarroni, archlutes, mandoras/gallichons,
colasciones, mandolins/mandolas, etc. In short, instruments developed
directly from the same general platonic 'lute' form.
The big
Dear Eugene,
I agree that to produce some form of generally acceptable
classification system for 'lutes' would be difficult and even then
prone to error/interpretations - but surely we shouldn't not try? I
presume, for example, Mendel's inheritance findings have been revised
Dear Denys,
Thank you for this - I think it well reflects many peoples' views.
Indeed, it is remarkable that, even after 36 years, much of what Bob
wrote is still widely agreed upon today.
Martyn
--- On Wed, 17/10/12, Denys Stephens denyssteph...@sky.com wrote:
From:
with a downright
lie since others would have still been around to point out his error.
MH
--- On Thu, 18/10/12, Roman Turovsky r.turov...@verizon.net wrote:
From: Roman Turovsky r.turov...@verizon.net
Subject: [LUTE] Re: Chitarrone
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc
Actually it seems more likely that both instruments were named after
the ancient 'kithara' used by classical Greek poets to accompany their
recitations and, like so much renaissance thinking, seems to have been
a concious attempt to recapture something of the glories (as they saw
Thank you for this Markus.
I don't have notes on this possible mandora instrument. 9 course
mandoras are certainly known - although not as early as 1730. Is there
any further information/photos of the instrument?
Incidentally, what would be even more interesting was if there were
What you call an early Italian 'lute-shaped guitar' is more
likely nothing else but - a lute.
MH
''--- On Wed, 17/10/12, r.turov...@gmail.com r.turov...@gmail.com
wrote:
From: r.turov...@gmail.com r.turov...@gmail.com
Subject: [LUTE] Re: Chitarrone
To: Monica Hall
Re below: for 'major life's' read 'major life's work'
MH
--- On Mon, 8/10/12, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [LUTE] Re: the point of synthetics - Rather the movement
I don't know how this might work with single frets, but with double
frets I'm able to ease the fret back towards the nut, rotate it
(towards the treble side is best) to bring the old string groove to a
position between courses and then ease it back to its original
position. The
down
peg box?
To: Edward Mast nedma...@aol.com, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date: Tuesday, 4 September, 2012, 3:58
I mentioned this to a friend who is not a musician, but a brilliant
scientist.
His immediate reaction
lutes.
MH
--- On Sun, 2/9/12, Edward Mast nedma...@aol.com wrote:
From: Edward Mast nedma...@aol.com
Subject: [LUTE] Re: What's the historical reason for the bent down
peg box?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Stephen Stubbs fartrea...@gmail.com, Lute
Theorboes withstand much greater tensions and don't have a bent back
peghead. Ditto for many mandoras/gallichons and for orpharions/bandoras
and,of course, for modern six string guitars with high tension strings.
A more compact instrument has been suggested - but again that never
Dear Bill,
There are indeed a few sources for songs accompanied by lute: one such
which is readily vailable (tho' 18th century) is Beyer's 1760 setting
of some Gellert odes. See this:
[1]http://petrucci.mus.auth.gr/imglnks/usimg/c/c2/IMSLP204541-PMLP34546
6-Gellert.pdf
And
Excellent - as you say a much neglected work and one requiring much
panache and affet which you provide.
I wonder if it's an arrangement of a keyboard sonata? I'm not aware of
any relevant research - are you?
Martyn
--- On Tue, 28/8/12, Christopher Wilke chriswi...@yahoo.com
Dear Matthias,
I agree with much of what you say.
However regarding the observation that ' One may reasonably argue
whether this is an accompaniment or an instrumental arrangement as
there is no extra voice part. Instead, the lyrics are written beneath
the tablature which
Dear Mathias,
Thanks for this.
Italian 7/8 course lutes are distinctly different to
the mandoras/gallichons found in German speaking lands in the 18th
century in a number of significant respects. Noteably:
1. Length of neck - mandoras in original state have room for 9 tied
Fasch is a fairly well known composer who wrote works in a variety of
forms and instrumentation.
His concerto in Dm is in the large Dresden collection (Mus.Ms.
2423.v.1) scored in four parts with lute: two violins, viola, Lluto,
cembalo/basso (unfigured). Note that the lute is
Dear Stuart,
Many people nowadays use a quite large diameter first fret
(around 1.00mm or even more on a relatively small [60cm] lute) but, as
Martin points out, the best record of actual historic fret sizes is
John Dowland (in Varietie) which suggests significantly thinner frets
, 15 August, 2012, 12:14
Yikes! I've just googled the thickness of a 1676 half crown and it
is
2.23mm. That seems an awful lot.
Bill
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
To: Lute List [2]lute@cs.dartmouth.edu; Stuart Walsh
[3]s.wa...@ntlworld.com
Indeed. Some songs which were once considered to be 'folk' songs
(whatever 'folk' song actually is/was) turn out, with the benefit of
modern scholarship, to be composed works which became popular in the
theatre etc and later set to different texts. Things like 'Auld lang
syne'
As you point out, this link accesses IV.E.36 only. Is there a link for
IV. G. 18?
MH
--- On Mon, 6/8/12, Taco Walstra wals...@science.uva.nl wrote:
From: Taco Walstra wals...@science.uva.nl
Subject: [LUTE] Re: Aegidius MS?
To: Bernd Haegemann b...@symbol4.de
Cc:
Walstra did precisely this - perhaps you now might thank him. Of
course, it may also be an indication that mostly guitarists were
playing your transcriptions.
regards
Martyn Hodgson
--- On Sun, 29/7/12, Anton HAP:ger diwa-animat...@t-online.de wrote:
From: Anton HAP:ger diwa
not wish to see
their email inbox bombarded by hundreds if not thousands of such
offerings if the practice of disseminating them via email postings
became general. In any case, surely making ones own arrangements ought
to be actively encouraged.
Best wishes
Martyn Hodgson
Dear Jaroslaw,
It may be some sort of sport (in a modern biological sense), but I
suspect either the painter didn't quite get it right - see how the
first string is fastened not to the to the body of the bridge but to
the treble point! - or the neck is indeed incorrectly set
.
All the best
Jaroslaw
WiadomoAAAe/= napisana przez Martyn Hodgson w dniu 20 lip 2012, o
godz. 09:07:
Dear Jaroslaw,
It may be some sort of sport (in a modern biological sense), but I
suspect either the painter didn't quite get it right - see how the
first
and Luxlines as far as I know,
because they had too many complaints about the quality.
JL
WiadomoAP:A| napisana przez Martyn Hodgson w dniu 11 lip 2012, o godz.
17:29:
Kurschner (in Europe) makes 'Luxline' strings described below:
LK, LS Luxline
The Luxline is a string especially
Kurschner (in Europe) makes 'Luxline' strings described below:
LK, LS Luxline
The Luxline is a string especially designed by us to give an even
transition between plain gut and wound strings, similar to an open
wound string in function. It does away with the inherent problems of
But, surely, if the brass strings are sufficiently thin there's no
reason why the tension should not be at the usual level.
MH
--- On Tue, 10/7/12, theoj89...@aol.com theoj89...@aol.com wrote:
From: theoj89...@aol.com theoj89...@aol.com
Subject: [LUTE] Re: brass strings
Dear Bill,
It all depends what you mean by scalloped: ranging from a smooth curved
section (like the Chambure 'vihuela') through to most curve at the rib
extremities - as more commonly found on old instruments and also
depicted in some iconography. I presume you're asking about
and they asked me to bring it in for an
estimate.
Thanks again for the advice
On Mon, May 14, 2012 at 9:48 AM, Martyn Hodgson
[1][2]hodgsonmar...@yahoo.co.uk wrote:
Dear Adam,
It may need repairing rather than doing nothing and running the
risk
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