Mark wrote:
Hi,
what do you mean by gittern with wire strings ?
Sorry, I meant cittern.I always get those two confused. The ones I've
seen have had re-entrantly tuned wire strings.
If you are talking about the cittern then the tuning of the cittern probably
has something to do with plectrum
Hi Richard, List
The issue of the re-entrant tuning on a guitar is a very different
subject.
First it has noting to do with string length, and second it has nothing to
do
with bass lines...as has been pointed out it has all to do with campanella
passages.
The initial question (as I
In a message dated 10/14/06 1:14:23 AM, [EMAIL PROTECTED] writes:
The initial question (as I understood it) was: why was it developed ?
I doubt if the origin of the re-entrant tuning of the 4-course or 5-course
(??) guitar in the 16th century had anything to do with campanela playing.
There
doc -
i get e on the 7th fret by counting cosi:
open - a
1st - a#
2nd -b
3rd -c
4th - c#
5th - d
6th - d#
7th - e
given the ruckus caused by sting and his dowland
recordings and the decidedly woe is me content of
his (dowland's) tunes, how about a
carolina/baroque/piedmont-ie/blues-type
Yeah, I understand how you're getting e on the 7th fret of the 1st
string... but on the 4th string:
open - g
1st - g#
2 - a
3 - a#
4 - b (not e)
..
9 - e
I've tried doing melancholy ren songs as blues and haven't gotten it to
work yet, lol.
doc -
i get e on the 7th fret by counting cosi:
Lex,
We are in total agreement, I was just responding to your comment:
I doubt if the origin of the re-entrant tuning of the 4-course or 5-course
(??) guitar in the 16th century had anything to do with campanela playing.
There is no music left to show us.
My point was that there is music for
In einer eMail vom 13.10.2006 20:05:06 Westeurop=E4ische Normalzeit schreibt
[EMAIL PROTECTED]:
So is this why the gittern is also tuned re-entrantly? For the campanile
effects? Given that it's so much smaller than a theorbo, and has wire strings
as well, the issue of breakage and tension
Hi,
I suppose that the origins of the re-entrant tunings may be different for
theorbo and guitar. There are people on this list who can explain in detail
about quest for an optimal instrument for accompaniment of the voice in the
early opera (Naldi, Piccinini). Greater stringlength on the
Dear Craig,
The re-entrant tuning on the theorbo has its origins on the physical
nature of gut strings. The long string lengths of this instrument
makes impossible to get gut thin enough to have the 2nd and 1st
strings at normal pitch. This apparent drawback, used with
intelligence on
i've tried several variations on the charango's
gg-cc-eE-aa-ee re-entrant tuning - all but one of
which (gg-cc-eE-aa-dd) produced something less than
the original.
my own take on re-entrant tuning is:
- for tuning in 4ths it produces the best sound
available for an instrument with a short
On Oct 13, 2006, at 10:00 AM, bill kilpatrick wrote:
...my own take on re-entrant tuning is:
...you can pursue the high reaches of
the melody without climbing up the neck
I don't follow you. Doesn't it work the other way? The highest
pitched string in re-entrant tuning would be either the
PROTECTED]; Lute List
Subject: [LUTE] Re: Why re-entrant tuning?
i've tried several variations on the charango's
gg-cc-eE-aa-ee re-entrant tuning - all but one of
which (gg-cc-eE-aa-dd) produced something less than
the original.
my own take on re-entrant tuning is:
- for tuning in 4ths it produces
Setting the top one or two courses of the theorbo an octave down has nothing
whatsoever to do with the diameter of the string (as pointed out many times
before - see archives). It has to do with the string length, the string
material and the pitch. This leads to the breaking stress
Hi Matyn,
If you can find gut (or even nylgut) strings that will allow a
theorbo of 90cm in A to be tuned without re-entrant tuning, please,
let me know. I will be willing to try them!
Diameter also have to do with tone quality. Such an extremely thin
string on that string lenth would
You misunderstand my point. It is, of course, the relatively low breaking
stress of gut (compared to modern nylon, say) which requires lowering the top
one or two courses on a theorbo.
You also seem to be unable to comprehend the elementary laws of physics.
Might I suggest you read the
Dear Martyn,
Yes, you are right, when I was in highschool, physics was always my
weak subject=A1 I think it was a wise decision to become a musician and
not a scientific.
Sorry if I misunderstood your point.
Best wishes,
Alfonso
On 13-okt-2006, at 18:14, Martyn Hodgson wrote:
You
the star spangled banner, for example, played on a
ukulele (g-c-e-a) - starting with g (2nd string, 3rd
fret) leaves you with the option of climbing up the
neck to e (1st string, 7th fret) to reach ... by
the dawn's early light or switching to the 4th
string, 4th fret for the same. my point was
Hi Alfonso!
I think Martin was a bit crude to you...
The point is that it is not the force applied to the string that
determines wether or not it will brake, but the force per cross-sectional
area of the string. A thicker string needs a larger force for it to break,
but it also has a larger
On Friday, Oct 13, 2006, at 07:52 America/Los_Angeles, Martyn Hodgson
wrote:
Setting the top one or two courses of the theorbo an octave down has
nothing whatsoever to do with the diameter of the string
Nothing whatsoever?
Thus for two strings of the same material and length, the
Hi all,
I have always wondered the following explation for re-entrantness:
They wanted to have a big lute in a but could not tune the first or two
first strings to the right pitch. That is why they lowered those an
octave.
If that had been the reason, why didn't they just tune the lute to d or
Bill,
How are you tuning your uke? On my (standard) uke (g-c-e-a), that e is on
the 9th fret of the 4th string.
the star spangled banner, for example, played on a
ukulele (g-c-e-a) - starting with g (2nd string, 3rd
fret) leaves you with the option of climbing up the
neck to e (1st string,
There seems to be a strong division over the reasons why theorbos are tuned
re-entrantly. One side says it has to do with string tension, string length,
and breakage, while the other school maintains it is for purely tonal reasons,
better chording and so forth.
So here's another one for you.
Dear Craig,
The everage string length of historical archlutes is 64-67 cm. That
of the theorbos is 78 to 93 cm. Huge difference ยก
There seems to be a strong division over the reasons why theorbos
are tuned re-entrantly. One side says it has to do with string
tension, string length,
On Friday, Oct 13, 2006, at 10:08 America/Los_Angeles, Craig Allen
wrote:
There seems to be a strong division over the reasons why theorbos are
tuned re-entrantly. One side says it has to do with string tension,
string length, and breakage, while the other school maintains it is
for
Howard wrote:
The original question was ambiguous.
Yes it was, because I didn't know of any reasons why re-entrant tuning would be
used. I've never played a re-entrantly tunend instrument so don't have the
experience that would have obviated the question.
If the question is why did
someone
Not having kept close track of this thread I apologize in advance if I am
repeating information here.
Please note that my comments are specifically in relation to 17th 18th
century Italian music.
With the change in musical style that occurred at the turn of the 17th
century performers (and
.. And do not forget Caccini's comments on the matter ...
He was there then...
Arto
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