converted to an 11 course lute with a
string length around 76cm on a CD of French lute music from around
1670, he conceded that 'As Martyn Hodgson quite rightly points out in
his letter in the last issue of Lute News (No 94), a lute the size of
the Wenger should not find acceptance
: [BAROQUE-LUTE] Re: Top luthiers of 11-courser?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: baroque-lute@cs.dartmouth.edu
Date: Tuesday, 31 May, 2011, 16:51
On May 31, 2011, at 10:08 AM, Martyn Hodgson wrote:
Also see my correspondance with Bailes in recent issues
There's a collection, now in Munich (Ms Mus 1522), dating from c 1660
and believed to have belonged to 'Adelaide di Savoya Elletrice di
Bavaria' (written on the back page). It contains pieces in mixed
Italian tablature and in alfabeto. You can download a digitised copy
from the
concerted music.
However he was equally famed as a lutenist, so perhaps this is where
his affectation originates
MH
--- On Mon, 11/4/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: a little
concerted music.
However he was equally famed as a lutenist, so perhaps this is where
his affectation originates
MH
--- On Mon, 11/4/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: a little
concerted music.
However he was equally famed as a lutenist, so perhaps this is where
his affectation originates
MH
--- On Mon, 11/4/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: a little
concerted music.
However he was equally famed as a lutenist, so perhaps this is where
his affectation originates
MH
--- On Mon, 11/4/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [VIHUELA] Re: a little
Experience
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, A. J. Ness
arthurjn...@verizon.net
Cc: Lutelist lute@cs.dartmouth.edu
Date: Saturday, 2 April, 2011, 19:14
MH you should feel free to suggest and speculate but until you have a
cold hard fact you should continue
Experience
To: Roland Hayes rha...@legalaidbuffalo.org
Cc: Martyn Hodgson hodgsonmar...@yahoo.co.uk, A. J. Ness
arthurjn...@verizon.net, Lutelist lute@cs.dartmouth.edu
Date: Saturday, 2 April, 2011, 21:17
Dear all,
just an innocent question: where can you find music by Saint
that seems to me to be a very good
thing.
regards
Martyn
--- On Fri, 1/4/11, A. J. Ness arthurjn...@verizon.net wrote:
From: A. J. Ness arthurjn...@verizon.net
Subject: [LUTE] Saint-Luc again. Was: Foscarini Experience
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
--- On Fri, 1/4/11, Mayes, Joseph ma...@rowan.edu wrote:
From: Mayes, Joseph ma...@rowan.edu
Subject: [LUTE] Re: Stability of lute in playing fast.
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, alexander
voka...@verizon.net
Cc: Herbert Ward wa...@physics.utexas.edu,
lute
Dear Alexander,
What evidence do you have that early lutes (I presume you're referring
to 16th century instruments) were strung at a lower tension than
similar size later lutes?
And what evidence do you have that the tension of a guitar around 1800
was 7 Newtons?
Early
let us have some further
details?
MH
--- On Fri, 1/4/11, alexander voka...@verizon.net wrote:
From: alexander voka...@verizon.net
Subject: [LUTE] Re: Stability of lute in playing fast.
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: JosephMayes ma...@rowan.edu
...@verizon.net wrote:
From: alexander voka...@verizon.net
Subject: [LUTE] Re: Stability of lute in playing fast.
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: JosephMayes ma...@rowan.edu, Herbert Ward
wa...@physics.utexas.edu, lute@cs.dartmouth.edu
lute@cs.dartmouth.edu
Interesting thoughts Chris - but I don't think people would say 'great
continuo playing' if one busked in the style of, say, Scott Joplin in,
say, a Bach Mass setting. In fact, the evidence is not as scant as you
suggest and in practice there are generally acceptable limits for
strength was first described by
Piccinini in 1623, later by Mace (1676) and others.
MH
--- On Fri, 1/4/11, alexander voka...@verizon.net wrote:
From: alexander voka...@verizon.net
Subject: Re: [LUTE] Re: Stability of lute in playing fast.
To: Martyn Hodgson hodgsonmar
r.turov...@verizon.net wrote:
From: Roman Turovsky r.turov...@verizon.net
Subject: Re: [LUTE] Continuo and the Foscarini Experience
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Christopher
Wilke chriswi...@yahoo.com
Cc: Lutelist lute@cs.dartmouth.edu
Date: Friday, 1
Well - as you both already well know - the current level of scholarship
is so poor that the elder and younger Saint Jacques generally appear as
one.
But the real issue is that the real passion and merit of this music is
lost by such a generalist approach.
ythfo
Martyn
-lute@cs.dartmouth.edu
Date: Friday, 25 March, 2011, 0:18
I think Christopher makes some interesting points. I'll comment
below.
- Original Message -
From: Christopher Wilke [1][1]chriswi...@yahoo.com
To: Martyn Hodgson [2][2]hodgsonmar...@yahoo.co.uk; Baroque
A modern transcription into staff notation of all the guitar pieces
appeared as volume 38 (Jan Antonin Losy 'Pieces de Guitare') of the
series Musica Antiqua Bohemica (Editions Supraphon, Prague, 1979) and
it also contains a few facsimile pages. The extant sources are Prague
...@gamutstrings.com
Subject: [BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Baroque lute
Dmth baroque-lute@cs.dartmouth.edu
Date: Wednesday, 23 March, 2011, 22:29
Dear Martyn and all,
I had some correspondence with Tim Crawford 15 years ago
@gamutstrings.= com wrote:
From: Edward Martin [1]e...@gamutstrings.com= br / Subject:
[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc
g= t; To: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk, Baroque
lute
Dm= th
[3]baroque-lute@cs.dartmouth.edu
Date: Wedne= sday, 23
Use stand 'oil'. but eschew modern 'stand oil' which is just boiled
linseed oil with chemical driers added and far too thin and will
penetrate the wood.
Proper Stand oil has the consistency of very thick treacle, does not
penetrate into the wood but forms a very thin coating which
The dates of this composer are generally given as 1616 - 1710 which
seems a phenomenal life span for the time and even more so when his
extant lute works seem to be in the style of the early decades of the
18th century (even down to fashionable
doubling of the top and bottom line
individuals with the same, or similar,names. The players are Jacques
Vandeville oboe and Daniel Fournier lute (and theorbo!).
MH
--- On Wed, 23/3/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Jacques de Saint-Luc
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist l...@cs.dartmouth.edu
Date: Sunday, 20 March, 2011, 16:59
According to the title page Ms. Mus.Sch. C.94 was actually copied by
Gallot's
tres humbles et affectionne seruitur Monnier. The pieces are by at
least
two Gallot
Gallots
Date: Sun, 20 Mar 2011 15:40:26 +0100
From: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
To: Grzegorz Joachimiak [4]gjoachim...@wp.pl
Cc: lute List [5]lute@cs.dartmouth.edu, Martin Shepherd
[6]mar...@luteshop.co.uk
What about the guitar de
/3/11, Grzegorz Joachimiak gjoachim...@wp.pl wrote:
From: Grzegorz Joachimiak gjoachim...@wp.pl
Subject: Odp: [LUTE] Other de Gallots
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
mathias.roe...@t-online.de
Cc: lute List lute@cs.dartmouth.edu, Martin Shepherd
mar
Universale, part of a larger Italian group, has been offering these for
some time (I wonder if trhey're the same?) but I've never seen reports
about them. Possibly because the company doesn't target its marketing
at the 'early music' field.
MH
--- On Thu, 17/3/11, Sean Smith
...@nancycarlinassociates.com
wrote:
From: Nancy Carlin na...@nancycarlinassociates.com
Subject: Re: [LUTE] Re: Ribbons to hold (baroque) lutes WAS Re:
Strap slips off left shoulder.
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
lute@cs.dartmouth.edu, Anthony Hind agno3ph
Dear Anthony,
We discussed using ribbons or tapes fastened to an end botton and a
neck button to hold lutes fairly recently (2009 in fact). The problem
mentioned then was that the set-up was pretty unstable (a sort of
rotary effect was even mentioned) and certainly I found it
in
1671: he was born in 1644.
Martyn
--- On Mon, 21/2/11, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: Jaques-Martin Hotteterre
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
') to the lute (as Dowland and later required).
Martyn
--- On Tue, 8/2/11, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: Re : [LUTE] Re: Holbein painting [Google Art project] frets
and bridge
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu
Date: Tuesday, 8 February, 2011, 14:35
Dear Ed, Martyn, and All,
As you lecture on this painting, and until now, I have only
given it an
admirative, but casual look, may I formulate a few questions
the Lute Society
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: 'lute net' lute@cs.dartmouth.edu, Denys Stephens
denyssteph...@sky.com, lute...@aol.com
Date: Wednesday, 2 February, 2011, 17:59
Dear Martyn,
the digital download is still available on Richard Civiol's site
Dear Denys,
That the Lord Herbert Of Cherbury facsimile is next on the Society's
facsimile publication list is good news indeed - thank you.
For those who can't wait, there was a digital download available on
the internet a couple of years ago and for the most part pretty
Dear Martin,
We've discussed this business of different sizes of lutes before and I
very much agree with your observations, both about becoming used to a
particular size and also that much of the repertoire can be played
comfortably on larger lutes.
I think what also needs to
Quite a lot for mandora - if you count this as a 'lute'
MH
--- On Sat, 29/1/11, Roman Turovsky r.turov...@verizon.net wrote:
From: Roman Turovsky r.turov...@verizon.net
Subject: [BAROQUE-LUTE] polonaises
To: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu
Date:
--0-1146046691-1296292639=:55291
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Further to my last, I thought you both might like to see an example from the
collection 'Tre Serenata / Per il Gallichona' Dresden 2701.
Mandora/gallichon in
Helen,
Rather later than I think you were looking for, but nevertheless may
interest you, is the Bottegari Lute Book which contains vocal works
with lute tablature from the later 16th century. An edition was done
(by Wellesley Editions) in 1965 which transcribes the tablature into
I don't know the CD but presume it's the early small mandora (usually 4
course). Stuart Walsh knows a lot about these - I'll copy him into
this.
MH
--- On Wed, 19/1/11, Mark Day lautenmac...@gmail.com wrote:
From: Mark Day lautenmac...@gmail.com
Subject:
You might try Moretti's (Pepys guitar teacher/arranger/servant)
setting of 'To be or not to be' for baritone and guitar! Whilst not
the finest music the novelty certainly goes down well with audiences.
More straightforwardly look at:
CHILCOT's splendid ' Twelve English songs'
Indeed - but are 'accenti muti' perhaps something a little different -
ie with the second of the pair immediately damped - see my email below
(not copied to the general list!)
rgds
Martyn
--- On Wed, 12/1/11, Martin Shepherd mar...@luteshop.co.uk wrote:
From: Martin
Martin,
The earlier email accidentaly missed off my last to you
M
Giuliano,
Might 'accenti muti' mean a slurred pair with the second note being
immediately muted (by the left hand) once sounded? Such a grace
marking is found in staff notation notated by a
Dear Andrew,
The problem with a lot of writing about unequal temperament on the lute
is that it's either written by many who base their conclusions almost
entirely on keyboard practice (where, of course, with individual keys
one can indeed make a deliberate choice between a
:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: Re: [LUTE] RV93 - OT... what's this?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: Lute Dmth lute@cs.dartmouth.edu
Date: Wednesday, 5 January, 2011, 22:30
On 04/01/2011 09:39, Martyn Hodgson wrote
:
From: Christopher Wilke chriswi...@yahoo.com
Subject: Re: [LUTE] Re: RV93 - which instrument?
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu, David Tayler
vidan...@sbcglobal.net, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Thursday, 6 January, 2011, 13:53
Martyn
Subject: [LUTE] Re: RV93 - which instrument?
To: Lute Dmth lute@cs.dartmouth.edu, Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Date: Tuesday, 4 January, 2011, 20:56
See below.
- Original Message - From: Martyn Hodgson
[1]hodgsonmar...@yahoo.co.uk
To: Lute Dmth [2]l
What is the evidence for your assertion that Vivaldi generally did not
take into account individual instrumental requirements in his
compositions and that accordingly most of his compositions were played
on any instrument to hand?
Of course you can play RV93 on the banjo if that
Thank you for this.
Regarding what you say you meant, this is what you wrote
Unfortunately with Vivaldi, the fact that it may be difficult to play
or go off the range is absolutely not relevant, as is the case in his
other concertos. Remember this is the guy who writes the
Date: Wednesday, 5 January, 2011, 16:10
Greetings Martyn et alia,
Reply interspersed below.
-Original Message-
From: [1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] On
Behalf Of Martyn Hodgson
Sent: Tuesday, January 04, 2011 4:39 AM
Thank you fr ths.
I'm pleased you now accept that a 'violone' does not always (or indeed
generally) indicate a double bass instrument. If you care to examine
relevant journals (even the internet!) you'll find that the subject has
been looked into over the years. You'll also see
The relatively low pitching of the mandora makes it an unlikely
candidate as the instrument Vivaldi conceived for RV93 and also for RV
82 and 85 (all composed in the 1720s?): not only because of the
resulting unidiomatic high tessitura of these 'leuto' pieces on the
mandora but
When I first started playing lute, many moons ago, Pyramid strings were
virtually the only ones available in a variety of sizes/specifications
which one could personally select. The majority of players therefore
used their strings.
At that time one could also order (for the same
Is there an online listing WITH concordances of the contents of this
Ms?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I replied earlier with my experience of chitarra battente stringing;
perhaps it got lost in the ether! Here it is again:
Re: [LUTE] Chitarra battente stringing
Saturday, 18 December, 2010 14:07
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
To: [2]l...@cs.dartmouth.edu, Lucas
He stopped the notes in the same way as all other contemporary
lutenists did before
glued-on frets became general: by depressing the string to the belly.
MH
--- On Fri, 17/12/10, Edward Mast nedma...@aol.com wrote:
From: Edward Mast nedma...@aol.com
Subject: [LUTE] Re:
Not on the basis of icomography and historical sources. Bear in mind it
may have been made for someone who specifically ordered a single
second. I seem to recall that Julian Bream had a single second on one
(or more?) of his lutes - presumably to make it feel a little closer to
Piccinini 1639 goes up to the 19th fret on page 1. But probably not
using glued on frets - just by depressing to the belly.
MH
--- On Tue, 14/12/10, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart Walsh s.wa...@ntlworld.com
Subject: [LUTE] Re: lute piece by Brian
!
regards
Martyn
From: Anthony Hind agno3ph...@yahoo.com
Subject: KF Harp strings and other types
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
mar...@luteshop.co.uk
Cc: lute@cs.dartmouth.edu
Date: Friday, 10 December, 2010, 23:52
Dear Martyn and Martin
'
--- On Sat, 11/12/10, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: Re : KF Harp strings and other types
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu
Date: Saturday, 11 December, 2010, 9:02
Dear Martyn
Thank you for this Martin and Anthony. These strings are interesting as
a further alternative to loaded, wire wound and the 'spring' string;
especially for those with a large number of instruments to string.
I looked into these Saverez KF strings some time ago (are you sure
No attachments
--- On Tue, 30/11/10, ro...@rolfhamre.com ro...@rolfhamre.com wrote:
From: ro...@rolfhamre.com ro...@rolfhamre.com
Subject: [BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700
To: l...@manassero.net, tade...@mac.com
Cc:
I have a copy of the Salzburg Lautencodex Ms III 25 which contains
these Weiss works (mostly for liutho, violino and basso but only the
lute tablature survives). Other composers include: Meckh, Block(Bloch),
Lauf(f)ensteiner, Bohr.
I have no evidence that the Weiss pieces in this
Subject: Re : Tr : [LUTE] Re: tying two strings together (in process
of changing from 407Hz to 392)?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Friday, 26 November, 2010, 17:41
Those were great research papers. I thought there was a plan to have
this start up again
][9]lute-...@cs.dartmouth.edu] On Behalf
Of Martyn Hodgson
Sent: Monday, November 22, 2010 8:05 AM
To: [4][10]l...@cs.dartmouth.edu; Anthony Hind
Subject: [LUTE] Re: tying two strings of different thickness
together?
I use a reef knot - but secured with a drop
There's also similar pieces for mandora/gallichon and clavicembalo eg
'Sei Sonate/Per le/Clavicembalo/ ed una Mandora' by Knerferle. I
suggest a date of around 1780/90.
The lute instrument required is a large gallichon (aka mandora) in B.
ie not the relatively smaller instrument
I use a reef knot - but secured with a drop of super glue
--- On Mon, 22/11/10, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: [LUTE] tying two strings of different thickness together?
To: lute@cs.dartmouth.edu
Date:
Mimo has been in London for the last few days.
MH
--- On Sun, 14/11/10, Luca Manassero l...@manassero.net wrote:
From: Luca Manassero l...@manassero.net
Subject: [LUTE] Re: NGE strings
To: List LUTELIST lute@cs.dartmouth.edu
Date: Sunday, 14 November, 2010, 15:07
von Radolt
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk,
baroque-l...@cs.dartmouth.edu, Edward Martin
e...@gamutstrings.com, Bernd Haegemann b...@symbol4.de,
Christopher Wilke chriswi...@yahoo.com
Date: Sunday, 7 November, 2010, 15:49
Thanks to all who have responded
See my paper in FoMRHI Quarterly No 44 July 1986 C-737 : 'Von Radolt's
instructions to lute players (Wien 1701)'
This gives a translation of the instructions and a commentary on the
lute sizes/pitches required.
MH
--- On Sat, 6/11/10, Edward Martin e...@gamutstrings.com
It depends on the player
MH
--- On Sun, 31/10/10, Suzanne Angevine suzanne.angev...@gmail.com
wrote:
From: Suzanne Angevine suzanne.angev...@gmail.com
Subject: [LUTE] OT: Baroque Guitar technique
To: Lute List lute@cs.dartmouth.edu
Date: Sunday, 31 October, 2010,
A louder, if not more pleasant, sound.
MH
--- On Sun, 31/10/10, Suzanne Angevine suzanne.angev...@gmail.com
wrote:
From: Suzanne Angevine suzanne.angev...@gmail.com
Subject: [LUTE] OT: 19th C guitar
To: Lute List lute@cs.dartmouth.edu
Date: Sunday, 31 October,
Well, to be strictly accurate, we weren't asked whether the
makers succeeded but what their aim might have been.
As an aside, other ideas around at the time to increase bass response
were the use of what were often termed 'bass guitars' (or similar
names) which had additional
is
that
it is better for people to hear and enjoy amplified lute music on
such
occasions, than not hear and not enjoy HIP lute music without
amplification. I don't see anything odd about that.
Best wishes,
Stewart.
-Original Message-
From: Martyn Hodgson
--- On Wed, 20/10/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: Re: [LUTE] Re: Lute volume
To: Christopher Wilke chriswi...@yahoo.com
Date: Wednesday, 20 October, 2010, 14:26
I very much agree with your
This may be of interest: I have no knowledge of the quality of the
wood. As luck would have it, I've just bought a stock which will see me
out
Martyn
--- On Tue, 19/10/10, Marion Bolton dhbol...@ntlworld.com wrote:
From: Marion Bolton dhbol...@ntlworld.com
Subject:
Dear Stewart,
The relaxed speed is, I suspect, because she's dancing a 17th century
French courante - tho' perhaps even a bit too relaxed in this example.
Many courantes found in Austro-germanic sources are in the Italian
manner.
M
--- On Wed, 13/10/10, Stewart McCoy
agno3ph...@yahoo.com
Subject: Re : Re : [LUTE] Re: Carbon strings + Titanium Nylon?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu
Date: Wednesday, 6 October, 2010, 18:21
Dear Martyn
I do agree with the general tendancy of what you seem
de Martyn Hodgson
Envoye : mercredi 6 octobre 2010 17:38
A : [3]l...@cs.dartmouth.edu; Sauvage Valery
Objet : [LUTE] Re: Carbon strings + Titanium Nylon?
But they didn't have such strings. If we are trying to seek the
sounds
heard by the Old Ones it's necessary to start
--- On Wed, 6/10/10, Mayes, Joseph ma...@rowan.edu wrote:
From: Mayes, Joseph ma...@rowan.edu
Subject: Re: [LUTE] Re: Carbon strings + Titanium Nylon?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Edward Martin
e...@gamutstrings.com, Anthony Hind agno3ph...@yahoo.com
Cc: lute
someone try the new Nylgut ?
-Message d'origine-
De : [1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] De la part
de Martyn Hodgson
Envoye : mercredi 6 octobre 2010 17:38
A : [3]l...@cs.dartmouth.edu; Sauvage Valery
Objet : [LUTE] Re
Dear Anthony,
This seems a very retrograde step. Surely if we are wishing to hear
something even approaching how the Old Ones sounded we ought to
eschew treble strings which are so very different from what they had.
Clearly gut was generally used for trebles and there's no reason
Where does Pepys say a single strand of hair?
--- On Wed, 6/10/10, alexander voka...@verizon.net wrote:
From: alexander voka...@verizon.net
Subject: [LUTE] Re: Carbon strings + Titanium Nylon?
To: Anthony Hind agno3ph...@yahoo.com
Cc: lute@cs.dartmouth.edu
Date:
strings + Titanium Nylon?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Edward Martin
e...@gamutstrings.com, Anthony Hind agno3ph...@yahoo.com
Cc: lute@cs.dartmouth.edu
Date: Wednesday, 6 October, 2010, 12:40
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
This seems a very
: Carbon strings + Titanium Nylon?
To: Edward Martin e...@gamutstrings.com, Martyn Hodgson
hodgsonmar...@yahoo.co.uk, Anthony Hind agno3ph...@yahoo.com
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
Date: Wednesday, 6 October, 2010, 13:04
Just to be contrary, I should point out
-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu]
De la part
de Martyn Hodgson
Envoye : mercredi 6 octobre 2010 15:06
A : Edward Martin; Anthony Hind; JosephMayes
Cc : [3]l...@cs.dartmouth.edu
Objet : [LUTE] Re: Carbon strings + Titanium Nylon?
Well, we don't know
, 6/10/10, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: Re : [LUTE] Re: Carbon strings + Titanium Nylon?
To: Edward Martin e...@gamutstrings.com, Martyn Hodgson
hodgsonmar...@yahoo.co.uk, Edward Mast nedma...@aol.com,
alexander
Mimo Peruffo has asked for this to be forwarded to the list.
MH
--- On Sat, 18/9/10, aqu...@aquilacorde.com aqu...@aquilacorde.com
wrote:
From: aqu...@aquilacorde.com aqu...@aquilacorde.com
Subject: Re: [LUTE] New Nylgut?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Dear Narada,
I've played at Oakwell Hall (both solo lute and with a band) a number
of times in the past and can confirm it's a good venue for acoustics.
However this was a number of years ago when local Arts funding was more
generous and the management of places like Oakwell were
Do we know the string lengths of this instrument?
MH
--- On Fri, 3/9/10, Luca Manassero l...@manassero.net wrote:
From: Luca Manassero l...@manassero.net
Subject: [LUTE] Giovanni Krebar, 1629 and his liuto attiorbato
To: lute@cs.dartmouth.edu
Date: Friday, 3
Tiorba player's snobbery I suspect!
MH
--- On Fri, 3/9/10, wikla wi...@cs.helsinki.fi wrote:
From: wikla wi...@cs.helsinki.fi
Subject: [LUTE] Re: Castaldi
To: lute@cs.dartmouth.edu
Cc: vihu...@cs.dartmouth.edu
Date: Friday, 3 September, 2010, 21:28
Thanks
Also, somewhat contra-intuitive, try tightening the string first - not
releasing it - to break the static friction and any residual wedging of
peg paste. Then release the tension.
MH
--- On Mon, 21/6/10, Martin Shepherd mar...@luteshop.co.uk wrote:
From: Martin Shepherd
Very interesting that you'd normally string a mandolino at around
2.3/2.4 Kg. This question of (low?) tension is precisely what sparked
the current round of exchanges. I'd suggested a tension of around 2Kg
might be looked at for mandolino finger style (based on scaled lute
Indeed. One of the concerts I'm planning for next year will focus on
Moulinie's (with theorbo and guitar) and also the later fine works by
Lambert and Le Camus. We know that the latter wrote out their theorbo
accompaniments in tablature - do we know if any survive? - from their
in bewilderment, one should pick up a
5-
or 6-course mandolino and pluck a few notes with the fingers. It's
not
so bad.
Best,
Eugene
- Original Message -
From: Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk
Date: Sunday, May 30, 2010 4:09 am
exacerbate
issues of inconsistency.
Best,
Eugene
- Original Message -
From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk
Date: Monday, May 31, 2010 2:51 am
Subject: [LUTE] Re: baroque mandolins etc--- tensions and kgs?
To: Lute List [2]l
--- On Mon, 31/5/10, David Tayler vidan...@sbcglobal.net wrote:
From: David Tayler vidan...@sbcglobal.net
Subject: [LUTE] Re: baroque mandolins etc--- tensions and kgs?
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Date: Monday, 31 May, 2010, 15:38
The lutenist Szabo
Have you tried a significantly lower tension as suggested earlier? What
is the tension you're currently using?
Again, I'm also not quite sure what a recording can tell us of 'live'
volume etc.
M
--- On Sat, 29/5/10, Stuart Walsh s.wa...@ntlworld.com wrote:
From: Stuart
Dear Eugene,
There is really is no difficulty here. The heart of the matter is that
tension needs to be related to string length, so that with similar
instruments, bigger ones (and used eg Dowland as said)) higher tension
than their smaller counterparts - see the earlier
501 - 600 of 946 matches
Mail list logo
