Not quite Lord Copper: the whole point is that he doesn't actually 'do it in
practice' as you put it. He ignores (or is ignorant of) the different
dispositions of diatonic and chromatic semitones on each of the strings and
thus, indeed, doesn't 'do it in practice'.
MH
howard posner
On Nov 12, 2007, at 12:41 PM, Roman Turovsky wrote:
There are levels of Prominence, and it is not necessarily achieved
by merit, as we all know.
The question was about evidence of tastini. My point is that
Galilei's remarks indicate that tastini usage had a prominence that
he
In theory, there is no difference between theory and practice. But
in practice, there is.
- Yogi Berra
Sorry all, couldn't resist.
Not quite Lord Copper: the whole point is that he doesn't actually
'do it in practice' as you put it. He ignores (or is ignorant of)
the different
Martyn Hodgson [EMAIL PROTECTED] wrote:Date: Mon, 12 Nov 2007 08:21:50
+ (GMT)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Double Meantone
To: LGS-Europe [EMAIL PROTECTED]
So when you modulate I suppose you must stop and move your frets.
What is your
The point about modulation is that since you acknowlege your frets (including
'tastini') are necessarily straight, then the change of some notes from
diatonic to chromatic intervals, consequent on the modulation, requires such a
change since the modulation will very rarely (if ever in
Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Mon, 12 Nov 2007 15:27:56
+ (GMT)
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Double Meantone
To: LGS-Europe [EMAIL PROTECTED],
Lute builder Net [EMAIL PROTECTED]
I'm afraid you don't appear to grasp
]
To: Lute Net lute@cs.dartmouth.edu
Sent: Monday, November 12, 2007 2:19 PM
Subject: [LUTE] Re: Double Meantone
On Nov 12, 2007, at 2:36 AM, LGS-Europe wrote:
Galiliei disliking tastini shows there were about.
Galilei wrote not only that he disliked tastini, but that they were
On Nov 12, 2007, at 11:28 AM, Roman Turovsky wrote:
a.. Eumatius [the student]: ... Also, how does it happen that you
do not use frets that are spaced by unusual inequality of
intervals, and some other little frets that take away the sharpness
from the major third and tenth, as I have
a.. Eumatius [the student]: ... Also, how does it happen that you
do not use frets that are spaced by unusual inequality of
intervals, and some other little frets that take away the sharpness
from the major third and tenth, as I have seen used by some
universally known, skilful men, from whom I
On Nov 12, 2007, at 12:04 PM, Roman Turovsky wrote:
Unless he meant it ironically/sarcastically. Take David vO. He is a
universally known, skillful man
Leaving his skills out of it, he certainly isn't universally known.
Not like David Beckham or Osama bin Laden or Paris Hilton. Or Sting.
Unless he meant it ironically/sarcastically. Take David vO. He is a
universally known, skillful man
Leaving his skills out of it, he certainly isn't universally known.
Not like David Beckham or Osama bin Laden or Paris Hilton. Or Sting.
Or Paul O'Dette.
He is certainly known lutelistwide, with
As has been pointed out in earlier communications on the application of
'meantone' to
the lute, your 'system' seems to completely ignore the diiferent fret
positions of diatonic and chromatic intervals on each of the highest 5 courses
of the old tuned lute. Your advocacy of 'tastini'
different 'tastini' positions on each of the courses (your analysis seems to
only focus on the first course): in short, unplayable.
Dear Martyn
My analysis was about fret position 2 on courses 3 and 4, as David tayler
brought that up. Not about the first course. As it happened, this was
I will try your system, and post the measurements (the pitches as
actually measured by a microphone)
Thanks for all the fun info--
I don't yet see how the second fret can be minus 7 for B and plus 7
for G but once I try it perhaps I will see.
dt
At 12:45 PM 11/9/2007, you wrote:
What I
On Fri, Nov 9, 2007, LGS-Europe [EMAIL PROTECTED] said:
2) Skip the calculating [...] adjusting by the ear
and/or tuner.
The second way is good if you want to avoid the theory.
bad if you are in concert, unless your skill in imprompto patter rivals
that of Arlo Guthrie.
I am reminded of
/
- Original Message - From: LGS-Europe [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Wednesday, November 07, 2007 6:16 AM
Subject: [LUTE] Re: Double Meantone
The double first fret is a very good system.
And you need not learn a new tuning. It also has some
limitations
What I propose is that since there is a wealth of information on the
theory (which will never be reconciled due to different methods of calculation)
that we start publishing or sharing actual measurements in cents
relative to equal.
This system of real world temperaments will allow players to
!
- Original Message -
From: David Tayler [EMAIL PROTECTED]
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Friday, November 09, 2007 8:18 PM
Subject: [LUTE] Re: Double Meantone
What I propose is that since there is a wealth of information on the
theory (which will never be reconciled due
On Fri, 9 Nov 2007, H.L. Pakker wrote:
Hi there,
Years ago I found a calculator at:
http://www.shipbrook.com/jeff/index.html#misc
Its not easy anymore to find it back, but it must be there!
Yes, it's here: http://www.shipbrook.com/jeff/frets.html
Peter.
the next auto-quote is:
Success,
What I propose is that since there is a wealth of information on the
theory (which will never be reconciled due to different methods of
calculation)
that we start publishing or sharing actual measurements in cents
relative to equal.
This system of real world temperaments will allow players
@cs.dartmouth.edu
Sent: Wednesday, November 07, 2007 6:16 AM
Subject: [LUTE] Re: Double Meantone
The double first fret is a very good system.
And you need not learn a new tuning. It also has some
limitations.
With practice you can play around those limitations.
As I said, I play solo repertoire on it, too
Scordature to play meantone. Workable in stead of historical. There are more
and more ways in which we are inventing a 21st century lute tradition. Like
my 'standard' scordatura of diapassons on archlutes, nothing historical
about that, just very practical. Interesting.
Btw, I find a double
The double first fret is a very good system.
And you need not learn a new tuning. It also has some limitations.
The scordatura has a very different sound. Not
better, just different. And you trade some voice
leading for all those extra chords, because you
really don't want the A flat in your E
Interesting idea... trying to imagine the chords in my head. So are all the
bass courses of your theorbo a 4th lower? Down to a very low D? And what kind
of string is on the 14th course to make that note?
Kevin
- Original Message
From: David Tayler [EMAIL PROTECTED]
To:
On the archlute the 4th and 5th course are down a half step, F goes
to E and C goes to B
If you have seven fretted, the seventh is better at D or C, I use mainly D
On the Theorbo in G--IMHO better for 17th c. music--the same is true,
fourth and fifth courses down a half step.
That places all
Correction:
7 and 8 to D and C
I have 8 on the finger board, and I tune the 6th and seventh D and C,
but if you have 7 fretted, D is good, if you have six fretted the
lowest fretted note is G and of course you may tune your open
diapasons according to key.
Both single reentrant and double
... please excuse my ignorance.
I don't know about any excusing, but ignorance is not an issue here
except my own. I just came up from the lab, where I did a feasibility
study for fingering purposes only. 7 string, steel-string guitar;
dropped the 4th 5th as per G tuning (which of course it
27 matches
Mail list logo
