[LUTE] Re: String Question
When I started playing a 7 course, I wasted 6 months being unhappy with the sound and feel of various nylon/nylgut set-ups. Then I got a set of Larson gut strings and it was like a revelation - everything started making sense... Gamut / Larson Workshop website: http://gamutmusic.com/gamut/strings (After some experimentation, I've settled on gimped fundamentals on courses 6 and 7.) Andrew On 1 Nov 2009, at 03:32, luther maynard wrote: Hi My lute has not arrived yet, and I know it's coming in with ancient strings on it. To get the most out of an 8co. Larry Brown lute at 640mm, what would you all suggest as a brand of strings to use? Keep in mind I don't really want to use gut, even though that would be my first choice, maybe down the road I'll work gut into the set, but not right now. Thanks folks, Luther -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CLM 101 - 104
Hello everybody, could somebody please tell (with exact sources - manuscript, folio and title) me what pieces have the numbers 101... in CLM (Poulton Lam)? I only have the first edition :) and for a reason I do not know I have only 104 in my database. Rainer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Another String Question
My source of very inexpensive gut trebles (.42 Purr'll Gut from Sierra View) has dried up. Any suggestions for durable, reasonably priced alternatives? The rest of my strings are Gamut. OK to respond off-list if appropriate. Thanks and regards, Leonard Williams To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Yet More Synthetic String Questions
I also have a number of questions about synthetic strings, such as: Are Nylgut (made by Aquila) more 'gut-like' than other synthetic strings, or is this just a name? What are carbon strings and how do they differ? Are the strings made by different manufacturers (e.g. Pyramid, Savarez, La Bella) very different, or pretty much the same? Is the difference (if there is any) in theses strings the sound, the feel, the tension, all of the above or something else? The idea of trying all the strings seems expensive and time consuming, and information seems a little scarce. I have noticed, however, that all the manufacturers seem pretty certain that their strings are the best. Inquiring ears (and fingers) need to know... thanks in advance, morgan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: CLM 101 - 104
From the Hainofer MS 101 Phantasia 102 Preambulum 103 Gagliarda New to the Third Edition 104 Galliard 105 Galliarda Douland Cantus Sources: 101 and 102, f. 17 103 f. 6v 104 Hirsch f. 7, also Dd.2.11 f. 41 and 44. 105 Nuernberg, Germ. Nat. Mus. Hs. 33648, f. 4v What kind of databases do you have? MySQL? Matteo 2009/11/1 adS [1]rainer.aus-dem-spr...@gmx.de Hello everybody, could somebody please tell (with exact sources - manuscript, folio and title) me what pieces have the numbers 101... in CLM (Poulton Lam)? I only have the first edition :) and for a reason I do not know I have only 104 in my database. Rainer To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:rainer.aus-dem-spr...@gmx.de 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Cantio Ruthenica CIII
http://www.torban.org/ruthenicae/images/260.pdf http://www.torban.org/ruthenicae/audio/260h.mp3 Enjoy! Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: CLM 101 - 104
There are two versions of CLM with slightly different contents. I can dig mine up and maybe we can see what the differences are exactly, and of course one or two of those are taken from Lumsden. dt 101 Phantasia 102 Preambulum 103 Gagliarda New to the Third Edition 104 Galliard 105 Galliarda Douland Cantus Sources: 101 and 102, f. 17 103 f. 6v 104 Hirsch f. 7, also Dd.2.11 f. 41 and 44. 105 Nuernberg, Germ. Nat. Mus. Hs. 33648, f. 4v What kind of databases do you have? MySQL? Matteo 2009/11/1 adS [1]rainer.aus-dem-spr...@gmx.de Hello everybody, could somebody please tell (with exact sources - manuscript, folio and title) me what pieces have the numbers 101... in CLM (Poulton Lam)? I only have the first edition :) and for a reason I do not know I have only 104 in my database. Rainer To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:rainer.aus-dem-spr...@gmx.de 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: Another String Question
On Sun, Nov 1, 2009 at 3:08 PM, Leonard Williams arc...@verizon.net wrote: My source of very inexpensive gut trebles (.42 Purr'll Gut from Sierra View) has dried up. Any suggestions for durable, reasonably priced alternatives? Sofracob (in France): http://www.sofracob.fr/ David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
On 1 Nov 2009, at 03:32, luther maynard wrote: I'll work gut into the set, but not right now. Don't mix your strings. Different kinds on one instrument tend to create inbalance in sound and a lute harder to keep in tune. David -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
On Nov 1, 2009, at 12:23 PM, David van Ooijen wrote: Don't mix your strings. Different kinds on one instrument tend to create inbalance in sound and a lute harder to keep in tune. Not such a big problem for amateurs. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
I have to go with David van O. on this- speaking only for myself, of course- and having logged in decades both as professional and now (forevermore) amateur, string mixing is almost always frustrating regardless of pro or amateur status. It can be done, but like a good Martini requires vast experience and top quality ingredients. My greatest success has finally happened only in the past two weeks- my 13 course bass-rider Hoffman copy Baroque lute (which I got from Bob Lundberg so long ago that it's almost original) has defied for decades all my attempts at any kind of satisfactory stringing, and I can't cough up at this time the hundreds of dollars it would cost, now that Mimmo has finally found a possible Holy Grail of gut bass strings. Stringing as follows: 1st-f: Universale gut, .42 mm 2nd-5th: Larson treble gut, .46 .54 .66 .78 -and also all the octaves. Now it gets interesting (Martini time!) Fundamentals 6 - 10, Savarez KFG (Kentucky Fried Gut) I mean, Karbon-fibre gut. Which may or may not have gut in it,but is not plain KF. And the Piece de Resistance? Ancient SOLID silver overspun guitar strings from E.O.Mari/La Bella which had been languishing in my Gutpile (old string box) since literally the 1970's. Low tension d string for 11-C, medium tension d string for 12-B/B flat, and A string for 13-A. ¡Vihuela! Tensions follow as closely as possible Toyohiko Satoh's latest low tension specs. Works great with any of the historic Baroque lute RH techniques (for me). The register change from the lowest KFG to the silver overspun is discernable only when played without the octaves, but not at all jarring, and played with with the octaves unnoticeable to my ears. The proper string/course spacing is of utmost importance, as of course is the touch. On Nov 1, 2009, at 12:23 PM, David van Ooijen wrote: Don't mix your strings. Different kinds on one instrument tend to create inbalance in sound and a lute harder to keep in tune. Not such a big problem for amateurs. David- is the Sofracob as tough as the Universale? If memory serves, you find the Universale too harsh for solo instruments. I don't think that reasonably priced and durable are ever going to be a match, anymore. Renaissance lute stringing seems like such a piece of cake, after the Baroque lute struggles. Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] GUITAR and LUTES FOR SALE
Dear Firends, We would like to let you know that we are selling some of our instruments: 1. Romantic Guitar by Mikhail Fedchenko 1600 EUR: http://luteduo.com/instr/new_instr/1_Romantic_Guitar_M.Fedchenko_Front.jpg http://luteduo.com/instr/new_instr/2_Romantic_Guitar_M.Fedchenko_Back_1.jpg http://luteduo.com/instr/new_instr/4_Romantic_Guitar_Top.jpg http://luteduo.com/instr/new_instr/3_Romantic_Guitar_Detail.jpg 2. 13 Course Baroque lute by M. Fedchenko 1950 EUR picture picture picture picture http://luteduo.com/instr/new_instr/baroque_lute_front.JPG http://luteduo.com/instr/new_instr/baroque_lute_back.JPG http://luteduo.com/instr/new_instr/baroque_lute_side_view.JPG http://luteduo.com/instr/new_instr/baroque_lute_in_a_case.JPG 3. 10 course renessaince lute by Szymon Gasienica 1900 Eur http://www.luteduo.com/instr/5f.jpg http://www.luteduo.com/instr/5b.jpg 4.Big Theorbo by Martin de Witte 6000 EUR http://www.luteduo.com/instr/1f.jpg http://www.luteduo.com/instr/1b.jpg 5.Liuto Attiorbato (metal strung) by Martin de Witte 3500 Eur http://www.luteduo.com/instr/4b.jpg http://www.luteduo.com/instr/4f.jpg 6.10 course renessaince lute by Szymon Gasienica 1900 Eur http://www.luteduo.com/instr/5f.jpg http://www.luteduo.com/instr/5b.jpg If interested please do not hesitate to contact us www.luteduo.com Anna Kowalska Anton Birula + 48 607727346 i...@luteduo.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
I have had absolutely no problems mixing gut trebles with pyramid basses. Tuning is very stable. For some reason, the top string breaks every now and then. dt At 01:26 PM 11/1/2009, you wrote: I have to go with David van O. on this- speaking only for myself, of course- and having logged in decades both as professional and now (forevermore) amateur, string mixing is almost always frustrating regardless of pro or amateur status. It can be done, but like a good Martini requires vast experience and top quality ingredients. My greatest success has finally happened only in the past two weeks- my 13 course bass-rider Hoffman copy Baroque lute (which I got from Bob Lundberg so long ago that it's almost original) has defied for decades all my attempts at any kind of satisfactory stringing, and I can't cough up at this time the hundreds of dollars it would cost, now that Mimmo has finally found a possible Holy Grail of gut bass strings. Stringing as follows: 1st-f: Universale gut, .42 mm 2nd-5th: Larson treble gut, .46 .54 .66 .78 -and also all the octaves. Now it gets interesting (Martini time!) Fundamentals 6 - 10, Savarez KFG (Kentucky Fried Gut) I mean, Karbon-fibre gut. Which may or may not have gut in it,but is not plain KF. And the Piece de Resistance? Ancient SOLID silver overspun guitar strings from E.O.Mari/La Bella which had been languishing in my Gutpile (old string box) since literally the 1970's. Low tension d string for 11-C, medium tension d string for 12-B/B flat, and A string for 13-A. ¡Vihuela! Tensions follow as closely as possible Toyohiko Satoh's latest low tension specs. Works great with any of the historic Baroque lute RH techniques (for me). The register change from the lowest KFG to the silver overspun is discernable only when played without the octaves, but not at all jarring, and played with with the octaves unnoticeable to my ears. The proper string/course spacing is of utmost importance, as of course is the touch. On Nov 1, 2009, at 12:23 PM, David van Ooijen wrote: Don't mix your strings. Different kinds on one instrument tend to create inbalance in sound and a lute harder to keep in tune. Not such a big problem for amateurs. David- is the Sofracob as tough as the Universale? If memory serves, you find the Universale too harsh for solo instruments. I don't think that reasonably priced and durable are ever going to be a match, anymore. Renaissance lute stringing seems like such a piece of cake, after the Baroque lute struggles. Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
On 11/1/09 3:23 PM, David van Ooijen davidvanooi...@gmail.com wrote: On 1 Nov 2009, at 03:32, luther maynard wrote: I'll work gut into the set, but not right now. Don't mix your strings. Different kinds on one instrument tend to create inbalance in sound and a lute harder to keep in tune. David I'll second that; an amateur's opinion, but even using all gut, with gimped gut fundamentals on 7 and 8, I find that gimped versus plain gut de-tune in different directions when the humidity plays its tricks. Regards, Leonard Williams To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Interesting continuo group
reading up on the continuo group in the early 17th century I came across this quote from the book Venetian instrumental music from Gabrieli to Vivaldi by Eleanor Selfridge-Field dated 1607 There was a concert of the best musicians that they had [involving] as many voices as instruments, principally six little jewels of organs besides that of the church, which is very fine, and trombones or sackbuts, and viols, violins, lutes, cornetts made from [animal] horns, recorders and flageolets. Six portative organs! To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re :Re: String Question
I tend to agree, with David. I have noticed that = within a voice
(and sometimes accross voices) the more strings of the same = type you
use, the better the string's quailities can be heard. This seems t= o
be a case of sympathetic resonance behaviour.
I have used Aquila V= enice both for the Meanes of my 11c lute, and for
the octave strings for th= e bass down from the 7th to 11th (in keeping
with an interpetation of Mace'= s advice). The singing quality of these
strings now descends right accross = from the Meanes through to the
Bass (but of course the loaded diapasons are= also Venice giving
further sympathetic resonance); and there results a ver= y smooth
transition from bass to Meanes, which is really what I was looking=
for.
I am searching for a homogneous sound, with clarity, but melodic s=
ustain.
Others may have different priorities, and find them in quit= e
different string types, but what ever qualities you are searching for,
I = think this principle of sympathetic behaviour remains valid.
= nbsp; While replacing the standard HT gut octaves, I also altered
the= tension, as suggested to me by Ed Martin, Martin Shepherd, and
Mimmo Peruf= fo, so as to have the octave at a slightly higher tension
than the bass. Th= e octave meanes then presumably become the leading
voice, as it were, and a= ny slight thuddy quality of the basses
seems to disappear.
It also= becomes far easier to play the octaves alone (without their
basses) at lea= st on an 11c lute. I believe it would be a little more
difficult on a 13 co= urse lute.
My experience is strongly associated with these Aquilan= bsp; strings,
but I think this would again be valid for other string types,= so long
as the Meanes chosen are sufficently flexible when fully tense.
Regards
Anthony
Message d'origine
De : David van Ooijen davidvanooi...@gmail.com
=C3=80 : Lute list lute@cs.dartmouth.edu
Objet : [LUTE] Re: String Question
Date : 01/11/2009 21:23:19 CET
On 1 Nov 2009, at 03:32, luther maynard wrote:
I'll work gut into the set, but not right now.= br
Don't mix your strings. Different kinds on one instrument tend to
create inbalance in sound and a lute harder to keep in tune.
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
And just how old are your Pyramids? (Pharonic strings, which dynasty?) The quality of the drinks at your house have always been superb. But I don't recall Martinis or any other mixed beverage. I have had absolutely no problems mixing gut trebles with pyramid basses. Tuning is very stable. For some reason, the top string breaks every now and then. dt It's supposed to. Reminds us that we are human, and that impermanence is the condition of the universe. string mixing is almost always frustrating regardless of pro or amateur status. It can be done, but like a good Martini requires vast experience and top quality ingredients. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Interesting continuo group
On Nov 1, 2009, at 2:01 PM, David Tayler wrote: I came across this quote from the book Venetian instrumental music from Gabrieli to Vivaldi by Eleanor Selfridge-Field dated 1607 Wow... you must have the first edition. Mine is the third, revised, 1994. There was a concert of the best musicians that they had [involving] as many voices as instruments, principally six little jewels of organs besides that of the church, which is very fine, and trombones or sackbuts, and viols, violins, lutes, cornetts made from [animal] horns, recorders and flageolets. Six portative organs! Seven organs dispersed around the church would be just the right number for a work with seven choirs, such as Gabrieli's Magnificat a 33, or some similarly grand work by Francesco Usper or someone else who worked at the church of San Salvador, which is what the above report, by the French diplomat Jean-Baptiste du Val, is about. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
On Nov 1, 2009, at 2:30 PM, Daniel Winheld wrote: And just how old are your Pyramids? (Pharonic strings, which dynasty?) I don't know about David, but I have some Pyramid wound strings that have been on my instruments for nearly that long. After ten or fifteen years, they stop being too bright or ringing too long. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String Question
That's the secret- careful ageing and unshakeable patience; like managing a proper wine cellar while refraining from drinking ahead of the curve! If only I had exercised the above qualities, the original Pyramid basses that once adorned my Baroque lute would now be sounding as full, discreet, mellow as yours and David's. On Nov 1, 2009, at 2:30 PM, Daniel Winheld wrote: And just how old are your Pyramids? (Pharonic strings, which dynasty?) I don't know about David, but I have some Pyramid wound strings that have been on my instruments for nearly that long. After ten or fifteen years, they stop being too bright or ringing too long. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Interesting continuo group
Didn't know Usper wrote big stuff--can you point me towards some? dt At 02:34 PM 11/1/2009, you wrote: On Nov 1, 2009, at 2:01 PM, David Tayler wrote: I came across this quote from the book Venetian instrumental music from Gabrieli to Vivaldi by Eleanor Selfridge-Field dated 1607 Wow... you must have the first edition. Mine is the third, revised, 1994. There was a concert of the best musicians that they had [involving] as many voices as instruments, principally six little jewels of organs besides that of the church, which is very fine, and trombones or sackbuts, and viols, violins, lutes, cornetts made from [animal] horns, recorders and flageolets. Six portative organs! Seven organs dispersed around the church would be just the right number for a work with seven choirs, such as Gabrieli's Magnificat a 33, or some similarly grand work by Francesco Usper or someone else who worked at the church of San Salvador, which is what the above report, by the French diplomat Jean-Baptiste du Val, is about. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Interesting continuo group
On Nov 1, 2009, at 4:42 PM, David Tayler wrote: Didn't know Usper wrote big stuff Nor I; it was speculation on my part that it was someone connected with San Salvador who wrote something that requires seven organs. Du Val's account, like Thomas Coryat's very similar one, is very tantalizing. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
