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
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
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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
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.
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
http://www.torban.org/ruthenicae/images/260.pdf
http://www.torban.org/ruthenicae/audio/260h.mp3
Enjoy!
Amitiés,
RT
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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
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
--
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
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
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
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
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
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
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,
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=
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
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
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
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,
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
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.
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