Just testing...
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Umm, according to the posted schedule, Ronn's concert is actually on
Wednesday evening, 25 June at 7:30 PM, in Harkness Chapel on the campus
of Case Western Univesity.
Daniel Heiman
On Tue, 17 Jun 2008 11:11:23 -0400 Suzanne Konefal [EMAIL PROTECTED]
writes:
Be sure to check out Ronn McFarlane
Dear David,
I am sure you are anything but crazy. :-)
The craziness I had in mind, was someone with a modern Neapolitan
mandoline tuned in fifths, fixing unmovable metal frets into the
fingerboard, unequally spaced, thus limiting the number of notes
available for modern music.
Your baroque
Dear Stewart and all,
I am not a great enthusiast of meantone temperament as a result of my readings
of concordant theoretical sources which do not seem to advocate this particular
tuning, and of my experience in consort playing. Of course, I do use it when
requested to, no problem, but not so
David,
What exactly did you like so much about your
former silk strings? The feel? The
stay-in-tune-ness? Did they sound much like gut?
Thanks,
Chris
--- David Tayler [EMAIL PROTECTED] wrote:
Very interested in trying them,
has some years ago and they were great
dt
At 11:37
Dear Jean-Marie,
Many thanks for this interesting passage. It confirms what I was saying, i.e.
that keyboard instruments were tuned with unequal semitones, that the lute and
viol were tuned in equal temperament, and that fretted instruments were
regarded as inferior, because they were in equal
From my one very brief but unforgettable experience with it, it smells worse
than bone when cut with power tools. Don't do that in a confined space. I
once needed some antler for an educational display and went to a taxidermist.
When he cut a piece for me on the power saw in his garage,
At 05:24 AM 6/18/2008, Stewart McCoy wrote:
Your baroque mandolin is presumably tuned in 4ths, with a 3rd between
the 5th and 6th courses. That puts it on a par with the theorbo and
renaissance lute, which also have four 4ths and a major 3rd, where an
approximation to meantone is a workable
Dear All:
Perhaps we should bear in mind that fixed-fret instruments such as citterns
and bandoras certainly used meantone temperaments -- just take a look at
surviving instruments -- and that any gut-fret instruments that played with
them would probably have adjusted to that tuning.
Cheers,
Jean-Marie is of course absolutely correct that
there are contemporaneous accounts advocating
various distinctions and even clashes of the
differing temperaments for keyboard and fretted instruments,
and there were at various times accounts that
these clashes were good or necessary.
However,
Dear Rob, Timo and all
I have just uploaded some images of my lute. As I am doing several
things at once, I don't have time, at present to select for Ning lute;
but here is a link to those images:
http://tinyurl.com/4zmwbl
A friend who is a lute player and lute collector came round, he has
Dear Jim,
This is very true. I have been told by Peter Forrester, who has measured
many original citterns, that none of them is in equal temperament. He
also makes the point that the later ones had fretting closer to equal,
but they never actually made it to equal. Surviving pictures of citterns
Dear Howard,
Thank you very much for passing on those very interesting passages,
which show that Weiss played continuo on his D minor lute, and that the
practice was widespread. Yes, there was certainly a lot of ensemble
music involving lutes in 18th-century Germany.
You put your finger on the
Dear All,
Does anyone have or know where I can find a translation of the
introduction to Alessandro Piccinini's Intavolatvra ... Libro Primo?
Peter.
the next auto-quote is:
The human mind evolved to believe in the gods.
It did not evolve to believe in biology.
(Edward O. Wilson)
/\/\
Peter
There's a German grand staff edition entitled Alessandro Piccinini,
Das Lautenwerk von 1623 prepared by Denise Perret, Ricardo Correa and
Monique Chatton that has both a German and an English translation of
Piccinini's introduction. The publisher is Heinrichshofen's Verlag,
Wilhelmshaven
From: Stewart McCoy [EMAIL PROTECTED]
Throughout the present discussion I have tried to use the words equal
and unequal when referring to fret spacing, rather than keep talking
about meantone. All fretting systems on the lute, apart from equal, can
only be approximations to keyboard
Congratulations for this beautiful new baby then.
May I second the congrats. And I can see that your 1st and 2nd frets
have been shifted toward what on the renaissance lute is mean tone
fretting. I wonder how you tune it and what it sounds like.
Mathias
but here is a link to those images:
On occasion the topic of authentic pitch arises: to what G, e.g.,
was a lute tuned? Thre's that old dictum of tuning the treble to just
before it breaks. So--my question is: What is the breaking pitch
(frequency) of gut?
Regards,
Leonard Williams
/[ ]
/ \
Eric,
Thanks for the information.
I just heard that Stanley Buetens wrote an article in American Lute
Journal #2 that has a complete translation of all text throughout the
volume.
Peter.
On Wed, 18 Jun 2008, Eric Crouch wrote:
There's a German grand staff edition entitled Alessandro
I remember reading a review by Stewart McCoy of a book of lute song texts
translated into German. He found that, curiously, the translations gave
great insights into the texts because the translator had to make explicit
their meaning, in the way that Martin illustrates. Stewart, could you
remind
Dear David,
Thank you for your reply. Of course I agree about most of your assertions, but
I am still very reluctant to adhere to the general enthusiasm regardin the
so-called tastini. As a matter of fact, I know only one source mentioning
this practise : Galilei's Fronimo. One late
PDF, 63 Kb, only in French!
http://tinyurl.com/4wk5vg
- Original Message -
From: Peter Nightingale
Sent: Wednesday, June 18, 2008 10:09 PM
Subject: [LUTE] Piccinini
Dear All,
Does anyone have or know where I can find a translation of the
introduction to Alessandro Piccinini's
Matthias
That was initially the question I asked to the list. Stephen set it
up in 6th comma by ear from his tuner box.
I just didn't have time to look at the relevant tuning options, and
used VT. It may be quite wrong, but it does sound extremely sweet.
I have to say, I am very surprised
On Jun 18, 2008, at 1:58 PM, Jean-Marie Poirier wrote:
Anyway, the bulk of historical evidence is clearly in favour of a
more or less equal temperament when considering fretted instruments
like lutes or viols,
As far as I know, the historical evidence consists mostly of:
1) Actual
It looks very beautiful, Anthony. Take your time with it. You have to grow
into each other. That takes time. Subtle instruments live longer in your
heart.
Rob
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Howard
It is the same for double fretting. Mace says that single frets are
ideal, and then only tells us how to double fret.
Well, I have to say I can find no fault with the double fretting on
my new lute, not a buzz anywhere to be heard.
I suppose we should look wider at instructions in
RE the Spanish Pavan --- If you want English versions, then Julia
Craig-McFeely comes to the rescue. If you will go to
http://www.ramesescats.co.uk/thesis/, the index of her dissertation, the
Appendices links will give you pdf files containing a reference for every
piece and a list of all the
Dear Anthony,
I'm afraid I veiled what I actually meant to say, so much that it has
vanished behind all that British politeness. Let me put it straight in
the usual German rumbling way: There is no such thing like meantone
fretting on the baroque lute.
With your 1st fret high, F sharp (1st and
Dear Jean-Marie,
You are right that evidence for tastini is thin on the ground, so all
the more reason not to overlook the evidence provided by Christopher
Simpson. In his _Compendium_ he mentions the use of an extra first fret
by some players of the viol and theorbo. I have the modern edition of
Thanks Rob, your thoughts, and friendly words, are in resonance with
mine. I have only been tinkling on it this evening, and yet it seems
to be communicating with me.
Robinson was so right, I often think about that, when he says that a
beginner needs the best and most beautiful lute he can
Anthony,
My congratulations! Very beautiful instrument. I understand that your first
string is a gut too, so if the lute is 70cm you probably keep it pretty low,
don't you? Anyway it will mature in time.
I wish you experience wonderful moments playing her!
Best wishes
Jaroslaw
-Original
Dear Peter,
The book you are referring to is Christian Kelnberger, _Text und Musik
bei John Dowland_ (Passau: Verlag Karl Stutz, 1999). The text of all
Dowland's songs is translated into German. It has to be said, that the
translation reflects only one person's interpretation of what are often
Something went wrong with my last message, sorry
Dear Matthias
No they didn't shift. It was deliberate, on the part of Stephen and
based on the tuner's programme for 6th comma (whose name escapes me,
but you will know the one. It has various temperaments and emits
sound to which you
I don't think the evidence is thin: I think the evidence is
substantial; however I consider the weight of the evidence to show
that the practice was uncommon--but important, worth debating.
In other words the thinness is in the number of people who
practiced the technique, rather than in the
Thank you Jaroslaw.
I was intending on keeping it at 392, but Stephen tuned it at 415,
and seems to think it won' be a problem, but he did give me two extra
top strings
I find those ones sold by Nick Baldock to be both strong and
pleasant, lasting two months on my 60cm 7c Martin
-- Forwarded message --
From: Bill Wall [EMAIL PROTECTED]
Date: 2008/6/19
Subject: Re: [LUTE] Silk strings / address
To: Andreas Schlegel [EMAIL PROTECTED]
Dear Andreas
Here is the listing for Peter from the Music Council of Australia. I don't
know how current this information
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