> From: Stuart Walsh <[EMAIL PROTECTED]>
> Date: Sun, 19 Mar 2006 20:02:15 +0100
> To: Sean Smith <[EMAIL PROTECTED]>, lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Tinctoris
> The music in Banks' book would sound very different with the veiled,
> smokey sound
> From: Stuart Walsh <[EMAIL PROTECTED]>
> Date: Sun, 19 Mar 2006 20:02:15 +0100
> To: Sean Smith <[EMAIL PROTECTED]>, lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Tinctoris
>
> Anyway, Philip
> Thorby introduced some viol music from 1502 - the same period of
On Sat, Mar 18, 2006, [EMAIL PROTECTED] said:
>
> In a message dated 3/12/2006 6:42:34 P.M. Eastern Standard Time,
> [EMAIL PROTECTED] writes:
>
> I've often heard that those glued-on high frets are a modern invention.
> Is that still the prevailing theory?
I dunno, we see long necked wir
On Sun, Mar 12, 2006, Stuart Walsh <[EMAIL PROTECTED]> said:
> Sean Smith wrote:
> A plucked instrument with a long neck offers the possibility (musical
> and/or purely theatrical) of playing in different ranges of it. Maybe
> Spinacino was emulating the practice of viola/vihuela players?
plu
In a message dated 3/18/2006 2:35:52 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
aren't there chord shapes up
there in early books that request L's and K's? For these I wonder if
there were bass or long tenor lutes that had, say, 10 frets on the
neck. The longer string length w
Thanks Daniel,
It seems that instruments with *parallel* strings often got more frets
on the neck. I'm thinking of guitars but this extends to citterns too.
Another parallel is that these are strummable instruments. Am I reading
too much into this?
Talking to Andy Hartig (shameless plug:
htt
On 3/19/06 8:02 PM, "Stuart Walsh" <[EMAIL PROTECTED]> wrote:
> In a message on the medieval lute list, Jean-Paul Bazin suggested that
> Crawford Young's students tune their gitterns: G,D,G,C so the top string
> is a fourth above a G lute. That puts the lowest C, often the 'tonic',
> on the fifth
Dear Stuart,
Thanks! I've been tuning my descant lute to C and it sound like an easy
jump over to the guittern --when I get around to getting one. That
tuning makes a lot of sense. Do I understand the lowest string to be a
5th below its adjacent course? Btw, are these unison tunings? Is that a
I have just finished adding Hans Gerle's instructions to the Fret
Placement Spreadsheet (
http://www.cs.dartmouth.edu/~lsa/download/index.html#frets ).
Even at the relatively late date of that reference (1532), he says,
"...*if* you wish to add an eighth fret...," and makes no mention of any
beyo
Sean Smith wrote:
> Dear Ken,
>
> This is very enlightening. It sounds like some stiffening under the 12
> fret area should be mentioned to one's luthier when having an early
> lute made. I've often played the glued frets and winced at the
> intonation. Sometimes I wonder about their placement a
Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and alternately
wondered if
In a message dated 3/18/2006 12:31:13 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
--- Stuart Walsh <[EMAIL PROTECTED]> wrote:
> those very high passages in Spinacino would
> suddenly go into oud mode?
disaster! would sound like the instrument had
suddenly lost its voice. even
--- Stuart Walsh <[EMAIL PROTECTED]> wrote:
> those very high passages in Spinacino would
> suddenly go into oud mode?
disaster! would sound like the instrument had
suddenly lost its voice. even with tie-on frets,
"plucking" an oud produces a mediocre sound - nothing
as rich and resonate as
[EMAIL PROTECTED] wrote:
>
> In a message dated 3/12/2006 6:42:34 P.M. Eastern Standard Time,
> [EMAIL PROTECTED] writes:
>
> I've often heard that those glued-on high frets are a modern invention.
> Is that still the prevailing theory?
>
>
> Hello Sean:
>
> Yes, I heard a lecture at Lute
In a message dated 3/12/2006 6:42:34 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
I've often heard that those glued-on high frets are a modern invention.
Is that still the prevailing theory?
Hello Sean:
Yes, I heard a lecture at Lute Society in Feb2002 by Tony Bailes and he sa
The music I was originally talking about was "Carmen's Whistle" by John
Johnson, which I am playing on orpharion - wire strings which can easily be
pulled out of tune with less than precise left hand fingering.
Nancy
>On Mar 13, 2006, at 6:37 AM, Nancy Carlin wrote:
>
> > Possible
> > reasons fo
This is in his Regola Rubertina (1542). I'm sorry, Ed, I don't have it
in front of me for the details.
Sean
On Mar 16, 2006, at 3:14 AM, Ed Durbrow wrote:
>
> On Mar 13, 2006, at 6:23 AM, Sean Smith wrote:
>
>> Ganassi (c1530) give lots of
>> different different tunings for viols w/ different m
>
>> When some kind of meantone tuning was used this could explain the
>> use of
>> the 5th fret.
>
> Not for a fifth fret on the sixth course in meantone fretting. Same
> as open
> 5th course.
In fact, I can't think of a temperament where the same note would be
a different pitch.
I was ta
On Thursday 16 March 2006 12:19, Ed Durbrow wrote:
> On Mar 13, 2006, at 6:37 AM, Nancy Carlin wrote:
> > Possible
> > reasons for this are that it was written out as part of someone
> > lute lesson
> > on how to play these chords, or that there was something about the
> > intonation being better i
On Mar 13, 2006, at 6:37 AM, Nancy Carlin wrote:
> Possible
> reasons for this are that it was written out as part of someone
> lute lesson
> on how to play these chords, or that there was something about the
> intonation being better in these configurations. However, I can't
> imagine
> the
On Mar 13, 2006, at 6:23 AM, Sean Smith wrote:
> Ganassi (c1530) give lots of
> different different tunings for viols w/ different missing strings and
> we know that he was a lutenist, too.
How do we know that? Sounds interesting.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or
s is from
the books themselves, and every new insight helps to
further our understanding of them.
Best wishes,
Denys
- Original Message -
From: "Leonard Williams" <[EMAIL PROTECTED]>
To: "Lute List"
Sent: Sunday, March 12, 2006 7:02 PM
Subject: [LUTE] Re: Tinctoris
Dear Stuart,
Long necks make a lot of sense. Fingering chords and polyphony w/ the
left hand can get difficult up the neck --don't you just hate 'i's on
the 6th course? Single lines are much easier and you still have that
low range if you need it. Also, w/ a longer string length you get a
lar
Sean Smith wrote:
>I think some pieces in Spinacino are modified 5c reductions since they
>are high on the neck
>
I've just got hold of Woodfield's book, 'The Early History of the
Viol' (1984). Woodfield says that, by the mid-1480s the vihuela...'with
its long neck' ...was firmly establishe
> However, I can't imagine
> the intonation being better when you play 6th course-5th fret,
> compared to
> 5th course-open.
On the other hand, maybe you tune it to be correct at those frets where
it's stopped because:
a) it sounds horrible as open
b) if your thumb 'lives' somewhere on the b
About those bass courses - I have just come across another place where
there are some curious uses of stopped bass notes, when an open string
would have been a lot easier. It's John Johnson's "Carmen's Whistle". In
addition to the bass notes there are some places where the fingering of the
cho
On Mar 12, 2006, at 11:02 AM, Leonard Williams wrote:
> Sean--
>
> You wrote:
>>I think some pieces in Spinacino are modified 5c reductions
>> since they
>> are high on the neck and only sneak in the 6th course rarely for a Bb
>> on the 6th course (eg, Vostre a maistres, O venus bant, Am
Sean--
You wrote:
>I think some pieces in Spinacino are modified 5c reductions since they
> are high on the neck and only sneak in the 6th course rarely for a Bb
> on the 6th course (eg, Vostre a maistres, O venus bant, Amours amours
> and others). Never in those pieces is it an open 6th c
Dear Arne,
I was just looking at Tinctors' single line 'solos' over popular tenors
taken from the Segovia. (from his collected works. No, I didn't get the
editor information but will next time if you'd like it). To my eye it's
obviously for lute --or bowed instrument if you're very handy. As J
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