You are missing the point.
You are talking to the few hundred people on Earth who play old lute
pieces...
Imagine Average Joe of today with a score of a Beatles song.
Yeah.
On 05.06.20 18:23, G. C. wrote:
So people on this list, are playing Renaissance and Baroque music
becaus
> >>>
> > >>>
> > >>>Dear Roland,
> > >>>Bartolotti's precise dates seem unknown at present but
> > c.1630
> > >-
> > >>1682
> >
.
>>>>The tiorba was, of course, a widely employed
instrument for
>>>continuo in
>>>>this period and, in my view, it's unsurprising that
a few
>>pieces
>>>for
>
So people on this list, are playing Renaissance and Baroque music
because they have the records? H
G.
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If we didn't have recordings, people would have to play them on
instruments...
I think many of those songs would have disappeared already...
On 05.06.20 18:03, G. C. wrote:
What are 80 years? We are still enjoying playing and listening to
Beatles and Stones music, near 60 years ol
What are 80 years? We are still enjoying playing and listening to
Beatles and Stones music, near 60 years old. And even older Jazz
music. Why would people in the 17th century have been any different?
G.
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er(b.1661) in the earlier part of this Ms
> >>suggests a
> >>>date around 1680/90 for its compilation.
> >>>The tiorba was, of course, a widely employed instrument for
> >>continuo in
> >>>
Am Freitag, 05. Juni 2020 12:27 CEST, Monica Hall
schrieb:
> To be honest I don't think it is the usual classic scholarly course to
> attempt to date a source by its contents and style. Someone on an earlier
> occasion on the list commented
That's what I just wanted to reply as well.
>
layers,
as
>well
>>as
>>>famed players such as Bartolotti, shouldn't turn up in
>collections
>>from
>>>time to time.
>>>Petyer Steur suggests the lute piece o
iorba players, as
>well
>>as
>>>famed players such as Bartolotti, shouldn't turn up in
>collections
>>from
>>>time to time.
>>>Petyer Steur suggests the lute piece on f.26v (Gigue de
&
>Rome) is by A M Bartolotii but this may be simply speculation
>around
>> similar word association.
>>regards,
>>Martyn
>>
>>On Thursday, 4 June 2020, 20:53:14 BST, Roland Hayes
>&
(Gigue de Angelin de
>>Rome) is by A M Bartolotii but this may be simply speculation
>around
>>similar word association.
>>regards,
>>Martyn
>>
>>On Thursday, 4 June 2020, 20:53:14 BST, Roland Hayes
>&g
Am Freitag, 05. Juni 2020 10:16 CEST, Martyn Hodgson
schrieb:
[...]
>Note the tiorba works are copied from the last leaf of the book going
>forwards
No - the book was started with the theorbo pieces and then someone continued
with the baroque pieces
from the end of th
artyn
>
>On Thursday, 4 June 2020, 20:53:14 BST, Roland Hayes
><[2]rha...@legalaidbuffalo.org> wrote:
> While the unascribed pieces could by someone else, they surely
play
>and
> sound like Bartolotti.
> Is there a
>>
>> Original message
>>From: Martyn Hodgson <[4]hodgsonmar...@mail.cs.dartmouth.edu>
>>Date: Fri, 5 Jun 2020, 08:21
>>To: [5]yuval.dvo...@posteo.de, LuteList
><[6]lute@cs.dartmouth.edu>, Monica H
Hall
<[7][10]mjlh...@tiscali.co.uk>,
Roland Hayes <[8][11]rha...@legalaidbuffalo.org>
> Subject: [LUTE] Re: Bartolotti music for theorbo
>
> ?space?-- Dear Roland,
Bartolotti's precise dates seem unknown at pres
.de, LuteList
<[6]lute@cs.dartmouth.edu>, Monica Hall <[7]mjlh...@tiscali.co.uk>,
Roland Hayes <[8]rha...@legalaidbuffalo.org>
>Subject: [LUTE] Re: Bartolotti music for theorbo
>
>?space?-- Dear Roland,
Bartolotti's precise dates seem un
ine?
>
> Sent from my Huawei phone
>
>
> Original message
> From: Martyn Hodgson
> Date: Fri, 5 Jun 2020, 08:21
> To: yuval.dvo...@posteo.de, LuteList , Monica Hall
> , Roland Hayes
> Subject: [LUTE] Re: Bartolo
ibed pieces could by someone else, they surely play
>and
> sound like Bartolotti.
> Is there any other theorbo player from that time that we know of, who
> could match the style and technique of these pieces?
> r
> Get [1]Outlook for Android
&
ould by someone else, they surely play
and
sound like Bartolotti.
Is there any other theorbo player from that time that we know of, who
could match the style and technique of these pieces?
r
Get [1]Outl
While the unascribed pieces could by someone else, they surely play and
sound like Bartolotti.
Is there any other theorbo player from that time that we know of, who
could match the style and technique of these pieces?
r
Get [1]Outlook for Android
s Manuscrites en Tablature III/1, S. 121-125 (he
> doesn't give any information on the other theorbo pieces, but I
> apparently in the lute part of the mansucript there's a piece by
> "Angelin de Rome" which Meyer supposed to identify as Bartolotti as
> well. And
Maybe it's worth to take a look on some of the literature? There is:
Boetticher: RISM B VII, p. 351-352 (rather useless, but he gives a bunch
of literature which I don't know)
Meyer (ed.): Sources Manuscrites en Tablature III/1, S. 121-125 (he
doesn't give any information on th
>regards,
>Martyn
>
>On Thursday, 4 June 2020, 09:56:59 BST, Monica Hall
> wrote:
> Ms. 17706 in the Austrian National Library in Vienna includes 10 pieces
>for theorbo usually attributed to Bartolotti. The Allemanda on f.92r is
>attributed to An
pieces for tiorba (ie from 92 to 89) do not have the
attribution to AM might suggest they're not by him, but
regards,
Martyn
On Thursday, 4 June 2020, 09:56:59 BST, Monica Hall
wrote:
Ms. 17706 in the Austrian National Library in Vienna includes 10 pieces
for
Ms. 17706 in the Austrian National Library in Vienna includes 10 pieces for
theorbo usually attributed to Bartolotti. The Allemanda on f.92r is attributed
to Angelo Michiele. Does anyone know on what grounds the other nine pieces are
attributed to Bartolotti?
Thanks
Monica
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-old-mail.cs.dartmouth.edu
on behalf of David van Ooijen
Sent: Sunday, May 3, 2020 4:48 AM
Cc: Lute Dmth
Subject: [LUTE] Re: Strings for an English theorbo set up as a baroque
lute
>>
I can use plain gut for the strings that go up to 100 cm, but
uments
are
extant up to around 76cm which, of course, need to be tuned at a
very
low pitch to bring the first course up to nominal f'.
In short the baroque lute and the double re-entrant Italian
theorbo are
two entirely different, and differe
bring the first course up to nominal f'.
In short the baroque lute and the double re-entrant Italian theorbo are
two entirely different, and different sizes of, instruments and must
necessarily needs be configured in wholly different ways.
regards
Martyn
On Sunday, 3 May 2020,
case, any string material breaks at the same pitch regardless of
its diameter.
The English theorbo (e.g. Mace) has double strings throughout, so even
the longest basses will have an octave to brighten the sound.
Martin
On 03/05/2020 09:15, Jay F.
--_000_SLXP216MB06062449066C97A5A0E285FDCBA90SLXP216MB0606KORP_
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi everyone,
I'm considering doing something a bit crazy and getting a 14 course English
theorbo, albeit one strung in D min
Hello there,
I wish you the best of luck in these corona virus lock in.
I am new to sliderules and I want to ask that is thre a slide rule
for composing music on theorbo ?
This is hit and miss question and I am beting my chance,
Thank you very much,
Mustafa Umut Sarac
[1]https://youtu.be/d2cg_qs4T98
With kind regards,
Met vriendelijke groeten,
Bien cordialement,
Gilbert Isbin
[2]www.gilbertisbin.com
[3]gilbert.is...@gmail.com
--
References
1. https://youtu.be/d2cg_qs4T98
2. http://www.gilbertisbin.com/
3. mailto:gilbert.is.
[1]https://youtu.be/vBSKVaWcS5o
With kind regards,
Met vriendelijke groeten,
Bien cordialement,
Gilbert Isbin
[2]www.gilbertisbin.com
[3]gilbert.is...@gmail.com
--
References
1. https://youtu.be/vBSKVaWcS5o
2. http://www.gilbertisbin.com/
3. mailto:gilbert.is.
Premiered by Francesco Motta! -
https://youtu.be/GUpC2dSz2X4
Amities,
RT
On 12/29/2019 9:58 AM, Roman Turovsky wrote:
[1]http://polyhymnion.org/swv/theorbo/images/guktheorbo-E.mp3
[2]http://polyhymnion.org/swv/theorbo/images/guktheorbo-E.pdf
Still warm, for your perusal and
[1]https://youtu.be/ikhQ3l1hsJE
With kind regards,
Met vriendelijke groeten,
Bien cordialement,
Gilbert Isbin
[2]www.gilbertisbin.com
[3]gilbert.is...@gmail.com
--
References
1. https://youtu.be/ikhQ3l1hsJE
2. http://www.gilbertisbin.com/
3. mailto:gilbert.i
[1]http://polyhymnion.org/swv/theorbo/images/guktheorbo-E.mp3
[2]http://polyhymnion.org/swv/theorbo/images/guktheorbo-E.pdf
Still warm, for your perusal and delectation!
Met vriendelijke groeten,
RT
--
References
1.
http://polyhymnion.org/swv/theorbo/images/guktheorbo
[1]https://youtu.be/mmAKUq_LB_w
With kind regards,
Met vriendelijke groeten,
Bien cordialement,
Gilbert Isbin
[2]www.gilbertisbin.com
[3]gilbert.is...@gmail.com
--
References
1. https://youtu.be/mmAKUq_LB_w
2. http://www.gilbertisbin.com/
3. mailto:gilbert.i
[1]https://youtu.be/PG--hFm2pHg
With kind regards,
Met vriendelijke groeten,
Bien cordialement,
Gilbert Isbin
[2]www.gilbertisbin.com
[3]gilbert.is...@gmail.com
--
References
1. https://youtu.be/PG--hFm2pHg
2. http://www.gilbertisbin.com/
3. mailto:gilbert.is.
I own a Theorbo-like lute from Herb. It has 1 single and 5 double
strings on the fretboard (68cm) + 8 single open strings (144cm). What
would be the tuning for this instrument (it seems to be too long for
archlute and too short for theorbo.
Wolfgang
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A Matthew Durvie theorbo was stolen from Dr. Gregory Hamilton oct. 8th in
Irving Texas. you can contact him at 8325450900
Wayne
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bittersweet, thanks and regrets
--
elliottchapin.com/me gon
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
ng of the underlined
or horizontal line under a note, symbol in Hurel's theorbo music?
For example in the Allemande Gigue in G on page 19:
First line, last measure d
2nd line, first measure d
Thanks, John

To get on or off this list see list i
Dear Lute list members, Does anyone know the meaning of the underlined or
horizontal line under a note, symbol in Hurel's theorbo music?
For example in the Allemande Gigue in G on page 19:
First line, last measure d
2nd line, first measure d
Thanks, John
To get on or off
I need to keep things simple: no refund, no shipping worries, etc. You
really have to see it for yourself before putting down your money.
Forwarded Message
Subject: Fwd: [LUTE] Michael Schreiner theorbo
Date: Fri, 27 Sep 2019 14:18:20 -0400
From: Elliott
el's first theorbo, and it is now available - playable but could
use some work. Details available; I live in Toronto.
--
elliottchapin.com/me
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1. mailto:echa.
I have been reducing the scope of my musical activities. I commissioned
Michael's first theorbo, and it is now available - playable but could
use some work. Details available; I live in Toronto.
--
elliottchapin.com/me;
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bieret" (if I
remember correctly) and of course attributes the idea to S. L. Weiss.
Despite what some lutemakers seem to like, I wouldn't define the swan
neck baroque lute as a "theorbo": it introduces much confusion in a
field where we do not need to add more, I belie
m not sure if it was stated earlier, but actually Campion makes his
teacher Maltot (who is, apart from the appearance in Campion's
treatise, completely unknown) responsible for having invented the
theorbo with 8 strings/courses on the fretboard, most possibly
resulting from the i
te as "theorbieret" (if I
remember correctly) and of course attributes the idea to S. L. Weiss.
Despite what some lutemakers seem to like, I wouldn't define the swan
neck baroque lute as a "theorbo": it introduces much confusion in a
field where we do not need to add
ulting from a conversion possibly
> by Fux though 1696 is a bit early unless it was
> then intended as an angelique.Neither are what we
> would nowadays call a theorbo, though of course
> the term was in use then for such instuments.
And with fingerboard lengths in the eighties,
was
then intended as an angelique.Neither are what we
would nowadays call a theorbo, though of course
the term was in use then for such instuments.
Best wishes,
David
At 13:37 -0700 18/8/19, howard posner wrote:
> On Aug 18, 2019, at 10:22 AM, David Van
Edwards wrote:
There are
> On Aug 18, 2019, at 10:22 AM, David Van Edwards
> wrote:
>
> There are of course several luiti attiorbati in
> Paris with 7 fingered courses but one of them
> looks a bit theorbo-ish and might be the one
> you're thinking of. It's anonymous E.25 (C228)
fully
agree (as you may have noticed from my remark about all these
theorbos
showing 8 fretted single courses...)
I think I saw the seven course Koch theorbo in Berlin, being now
nearly
ein Berliner, I went more than a couple of times to that small, but
interesting museu
Dear Luca, Magnus and Howard,
There are of course several luiti attiorbati in
Paris with 7 fingered courses but one of them
looks a bit theorbo-ish and might be the one
you're thinking of. It's anonymous E.25 (C228) 13
courses 1x1, 6x2 @ 710mm + 6x2 @ 1090. Joël's
catalogu
I'm not sure if it was stated earlier, but actually Campion makes his teacher
Maltot (who is, apart from the appearance in Campion's treatise, completely
unknown) responsible for having invented the theorbo with 8 strings/courses on
the fretboard, most possibly resulting from the in
Dear Magnus,
thank you for all these interesting points. Personally, I fully
agree (as you may have noticed from my remark about all these theorbos
showing 8 fretted single courses...)
I think I saw the seven course Koch theorbo in Berlin, being now nearly
ein Berliner, I
and the Schelle in Nuremberg to have more than 6 courses on the
fingerboard.
To my knowledge:
there is zero extant solo (French/Italian) music written for a theorbo
with more than 6 courses on the fingerboard- ranging from Kapsperger to
Robert de Visée.
All extant theorbo continu
almost all chitarroni with 8x1 fretted strings??
A modern theorbo player plays a wider variety of music than an Italian player
in 1660 or a French player in 1700 would have played, and thus needs either to
haul more than one theorbo around or have an instrument configured to be as
versatile as po
Cervelli: La Galleria Armonica, Catalogo del Museo degli strumenti
musicali di Roma, Roma 1994, pp. 297-299 from where I got my photos.
Best wishes,
David
At 18:34 +0200 17/8/19, Luca Manassero wrote:
> Dear common wisdom,
> seven years ago I had the opportunity to buy a
Dear Luca,
That theorbo could likely had been built by Pietro’s son Giovanni (Zuane)
Giovanni Railich, son of Pietro, almost never used his own fire mark.
Apart from a colascione (Collezione Correr, Venice) signed Giovanni Railich /
Lautaro in Padova,
all the instruments built in their
lleria Armonica, Catalogo del Museo degli strumenti
musicali di Roma, Roma 1994, pp. 297-299 from where I got my photos.
Best wishes,
David
At 18:34 +0200 17/8/19, Luca Manassero wrote:
> Dear common wisdom,
> seven years ago I had the opportunity to buy a theorbo from a Germa
li di Roma, Roma 1994, pp. 297-299 from where I got my photos.
Best wishes,
David
At 18:34 +0200 17/8/19, Luca Manassero wrote:
Dear common wisdom,
seven years ago I had the opportunity to buy a theorbo from a German
friend: it had been built by Hendrik Hasenfuss in 1993 and has a
Dear Luca,
Here you are! A very nice looking theorbo. Pohlmann says date is 1655
and Toffolo says it's c.1640 (St. Toffolo: Antichi Strumenti
Veneziani. Venezia 1987, pp. 57, 221) who knows where the 1702 date
comes from in the LSA list, but as there's no label it's all a gues
Dear common wisdom,
seven years ago I had the opportunity to buy a theorbo from a German
friend: it had been built by Hendrik Hasenfuss in 1993 and has a very
nice bowl made of 35 ribs of yew.
Looking for the model, I think I came to a theorbo built by Pietro
Raillich in Padova
ance, but used in New France in
17th-18th C. I'm looking for reported lute activity in the New World
colonial era.
jeff
From: Tristan von Neumann
Sent: Tuesday, July 30, 2019 12:34 PM
To: [2]lute@cs.dartmouth.edu
Subject: [LUTE] Re: New World lute/theorbo, etc.
: [2]lute@cs.dartmouth.edu
Subject: [LUTE] Re: New World lute/theorbo, etc.
Just to make sure I understood this:
You mean lutes built in New France, not imported instruments?
:)
T*
On 30.07.19 19:31, [3]jjnoo...@sbcglobal.net wrote:
> A questionââ¬"mostly likely
Not necessarily built in New France, but used in New France in 17th-18th C.
Iâm looking for reported lute activity in the New World colonial era.
jeff
From: Tristan von Neumann
Sent: Tuesday, July 30, 2019 12:34 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: New World lute/theorbo, etc
Excellentâthanks for the referenceâIâll get on it.
jeff
From: Bruno Cognyl-Fournier
Sent: Tuesday, July 30, 2019 12:52 PM
To: jjnoo...@sbcglobal.net
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: New World lute/theorbo, etc.
there was a study done a while back by Robert Derome on the
showed me a reference to
a theorbo in the French Caribbean in a (I think) late 17th-c text.
I've misplaced the reference and am trying to dig it up again. (If
anyone out there knows this source, I'd appreciate your jogging my
memory.)
There are, of course, referenc
lutes or theorboes in New France (Canada and Western US) in 16th-17th
-18thcenturies? Are there any surviving instruments from the period in Canadian
museums or collections?
A number of years ago, historian colleague showed me a reference to a theorbo
in the French Caribbean in a (I think) late
or collections?
A number of years ago, historian colleague showed me a reference to a theorbo
in the French Caribbean in a (I think) late 17th-c text. Iâve misplaced the
reference and am trying to dig it up again. (If anyone out there knows this
source, Iâd appreciate your jogging my memory
Dear Éric,
The issue with these instruments d'après tableaux de Watteau offered under the
name "théorbe de pièces ou angélique" is that they have eight strings on their
fretboards. The instrument in Watteau's La Finette has even less, viz. six
strings.
Surviving music for the angélique requires
This portrait shows him with a short, single strung, lutelike theorbo:
https://youtu.be/WaRuAuE_x1o
Mathias
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Tim Miller
Gesendet: Samstag, 11. Mai 2019 20:42
An: Lutelist
Betreff
Hi all,
Does anyone know anything about Vincent Dumestreâs current theorbo? Like a
lot of French players (Monteilhet, Belloq, etc.), heâs been using smaller
theorbos for a long time, but this one seems to have a flat back and more
guitar-like sides. You can see it clearly in some pics on
From Lynda Sayce:
"I suspect all theorbo players are subliminally aware of the heavy
key bias in the historic repertory.
It rears its head every time we're asked to supply a little link
piece for a programme, always in a key
in which no theorbo music survivesâ
No, for English theorbo !
Le 21 avr. 2019 Ã 16:31, Roman Turovsky <[1]r.turov...@gmail.com> a
écrit :
From Lynda Sayce:
"I suspect all theorbo players are subliminally aware of the heavy
key bias in the historic repertory.
It rears its head every time
From Lynda Sayce:
"I suspect all theorbo players are subliminally aware of the heavy key
bias in the historic repertory.
It rears its head every time we're asked to supply a little link piece
for a programme, always in a key
in which no theorbo music survivesâ¦! The
[3]
> Copie à :
> Objet : [LUTE] Re: theorbo repertoire
>
> Dear Roman,
>
> Not true :)
> On the top of my head:
> Bartolotti in A- Wn 17706 ( e minor)
> De Vis����e in Saizenay ( b minor and e minor)
John Wilson has also Voluntaries in these keys !
Jean-Marie
> Message du 19/04/19 23:02
> De : "magnus andersson"
> A : "Roman Turovsky" , "Lute Net"
> Copie à :
> Objet : [LUTE] Re: theorbo repertoire
I think someone confused a theorbo with a lute in G... Em and Bm are not
friendly keys on a Ren. lute in G.
On 4/19/19 6:30 PM, John Trout wrote:
Roman, Saizenay has an E minor and B minor suite by de Visee.
John
On 4/19/19, 4:14 PM, "Roman Turovsky" wrote:
A quest
Roman, Saizenay has an E minor and B minor suite by de Visee.
John
On 4/19/19, 4:14 PM, "Roman Turovsky" wrote:
A question to the collective wisdom:
Someone mentioned to me that there are practically no surviving solo
theorbo pieces in e-minor or b-minor.
Is
Does de Visée count (ms. Saizenay)?
Mathias
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Jerzy Zak
Gesendet: Freitag, 19. April 2019 22:43
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: theorbo repertoire
Roman,
Kapsperger
wisdom:
Someone mentioned to me that there are practically no surviving solo
theorbo pieces in e-minor or b-minor.
Is that true?
RT
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1. https
This is one of the nicest key on theorbo.
No pieces in b-minor in this collection, however.
J
---
> On 19 Apr 2019, at 22:12, Roman Turovsky wrote:
>
> A question to the collective wisdom:
> Someone mentioned to me that there are practically no surviving solo theorbo
> pieces i
A question to the collective wisdom:
Someone mentioned to me that there are practically no surviving solo
theorbo pieces in e-minor or b-minor.
Is that true?
RT
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
need a variable frequency sine wave generator, an
amplifier, an audio speaker and some fine sawdust or powdered laundry
detergent. Observing Chladni patterns requires a smooth, horizontal flat
surface on the object, and on a theorbo neck, that may be only the fingerboard,
so slide all the tied
>>>>> that is only 66.7cm.
>>>>> A. John Mardinly, Ph.D., P.E.
>>>>> On Mar 23, 2019, at 2:22 PM, howard posner
<[1][5]howardpos...@ca.rr.com>
>>>>> wrote:
>>>>> On Mar 23, 2019, at 5:43 AM, Luca M
;>>>> sound. Ramirez 1A guitars have a significant graphite-epoxy inset
along
>>>>> the neck to stiffen it, and that is said to be significant in a
neck
>>>>> that is only 66.7cm.
>>>>> A. John Mardinly, Ph.D., P.E.
>>>>
ieces from what is rather a large file.
Best,
Matthew
Le 26 mars 2019 à 23:34, jjnoo...@sbcglobal.net a écrit :
> Hi, folks—
>
> I’m trying to track down scores (facsimile or edition) of solo theorbo music
> by Etienne Le Moine (seems to be some variety in names—Estienne Lemoyne,
&g
ition) of solo theorbo music
> by Etienne Le Moine (seems to be some variety in names—Estienne Lemoyne,
> Estienne Le Moyne, etc.)
>
> Appears that he left fewer than 10 pieces and that these all survive in
> manuscript.
>
> I can do the library digging if necessary, b
9.152, 285
Sarabande, F-Pn Rés. 1106, 21"
It's from: https://w1.bnu.fr/smt/index.htm (Sources manuscrit en
tabulature)
Enjoy!
Yuval
Am 26.03.2019 23:34 schrieb jjnoo...@sbcglobal.net:
Hi, folks—
I’m trying to track down scores (facsimile or edition) of solo
theorbo music by Etienne L
Hi, folksâ
Iâm trying to track down scores (facsimile or edition) of solo theorbo music
by Etienne Le Moine (seems to be some variety in namesâEstienne Lemoyne,
Estienne Le Moyne, etc.)
Appears that he left fewer than 10 pieces and that these all survive in
manuscript.
I can do the
Dear all,
is someone here aware of a good stand for long neck instruments (theorbo,
archelute)?
Thanks, Jörg
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>>>>> sound. Ramirez 1A guitars have a significant graphite-epoxy inset along
>>>>> the neck to stiffen it, and that is said to be significant in a neck
>>>>> that is only 66.7cm.
>>>>> A. John Mardinly, Ph.D., P.E.
>>>>&g
that is only 66.7cm.
A. John Mardinly, Ph.D., P.E.
On Mar 23, 2019, at 2:22 PM, howard posner <[1]howardpos...@ca.rr.com>
wrote:
On Mar 23, 2019, at 5:43 AM, Luca Manassero <[2]l...@manassero.net>
wrote:
I‘m about to ask him to rebuild the long neck of my big Has
n it, and that is said to be significant in a neck
>>> that is only 66.7cm.
>>> A. John Mardinly, Ph.D., P.E.
>>> On Mar 23, 2019, at 2:22 PM, howard posner <[1]howardpos...@ca.rr.com>
>>> wrote:
>>>On Mar 23, 2019, at 5:43 AM, Luca Manasse
>> wrote:
>> On Mar 23, 2019, at 5:43 AM, Luca Manassero <[2]l...@manassero.net>
>> wrote:
>> I‘m about to ask him to rebuild the long neck of my big Hasenfuss
>> theorbo, as the instrument has a fantastic voice, but Hasenfuss
>> built a
>&
e:
On Mar 23, 2019, at 5:43 AM, Luca Manassero
<[2]l...@manassero.net>
wrote:
I‘m about to ask him to rebuild the long neck of my big
Hasenfuss
theorbo, as the instrument has a fantastic voice, but Hasenfuss
built a
very heavy long neck, so it is reall
, at 2:22 PM, howard posner <[1]howardpos...@ca.rr.com>
wrote:
On Mar 23, 2019, at 5:43 AM, Luca Manassero <[2]l...@manassero.net>
wrote:
Iâm about to ask him to rebuild the long neck of my big Hasenfuss
theorbo, as the instrument has a fantastic voice, b
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