Hello Sterling!!
Its been a long time posting for me, I have been pretty busy with work...
I offer what I have done in the past.
Many of the EXCELLENT builders who post here will no doubt have
wonderful input to give you , no doubt..
For my part, having replaced a number of bridges in
Richard--thanks very much---this is just the sort of info I was looking
for.
Taking a lute apart sort of scares me--the fear is I will just ruin
it. This lute has other issues--it came from England to very dry Utah
18 years ago and the soundboard developed a split at the seam soon
Hi Nancy and Alain,
My personal theory is that in an age without copy machines, they must have done
a lot of hand copying. I've certainly lost my place copying. It is easy to do
and easy to imagine someone burning the midnight oil just spacing out on it.
Even a quick play through doesn't sound
Interesting video on how Shakespeare might have been pronounced circa
1600. It would be interesting to see a similar approach to English lute
songs.
http://www.youtube.com/watch?v=gPlpphT7n9s
Guy
--
To get on or off this list see list information at
Thank you for listening,
Best regards from Romania,
CAIUS HERA
--- On Tue, 6/12/12, Edward Mast nedma...@aol.com wrote:
From: Edward Mast nedma...@aol.com
Subject: [LUTE] Re: SECTIO AUREA
To: hera caius caiush2...@yahoo.com
Cc: lute@cs.dartmouth.edu
Date:
The Hilliard Ensemble made an album in the late 70s, I think, of
various songs, including lute songs with original pronounciation -
probably at the more extreme end of possibilities.
To my ear, Dowland's Now oh now I needs must part sounded like Nay
oh nay oi needs moost pairt - a
I'll start the ball rolling - The critical thing is what kind of glue
was used to attach it to the soundboard. If it's synthetic, there's no
easy way to get it off.
If hide glue was used, alcohol can dissolve it, though you need to be
careful because it can also ruin the finish of
What is that title meaning, Romcio?
JŻ
---
On 2012-06-14, at 06:17, Roman Turovsky wrote:
Trond Bengtson Polska -
http://www.polyhymnion.org/swv/music/polska/polska41.mp3
http://www.polyhymnion.org/swv/music/polska/polska41.pdf
Enjoy.
Amitiès,
RT
To get on or off this list see
I'll add my two cents, though Richard provided a wealth of ideas. Planing
down the existing bridge is an excellent tactic! I find aliphatic glues
(white or yellow) actually easier to remove than hide glue. They often come
loose without the addition of water. I put a several layers of aluminum
Dear Luters,
I am in the process of looking for a new stereo system. Might any of
you on the list have any suggestions in this regard? I am looking for a
proper component system, probably at around the 500 Euro mark. For this
modest budget, are there any stereos/brands that you
Well, my Arcam Alpha 9 plays everything - and I mean everything - at
415 and in 6th-comma meantone. Not so good for French baroque...
Rob
On 15 June 2012 17:43, BENJAMIN NARVEY [1]luthi...@gmail.com wrote:
Dear Luters,
I am in the process of looking for a new stereo
Dear lutenists
I played an old version of a Padoana Veneziana, old _modern version_
of this piece. It seems to be a free edition of the real Capirola .23.
Padoana belissima, descorda come sancta trinitas (Minkoff page 54).
In the original the 6th course is lowered a whole tone, the
Arto- I don't know where that version comes from. Throw it away and play the
original- it's much better. In the original, it's the 3rd course that's split,
not the 4th (wouldn't work very well, 8ve string). Splitting the 3rd course is
90% of the FUN part of this piece! It's set up to be very
Dear Arto,
I think you must have a photocopy of the version from pages 29-30
of Anthony Rooley's 'A new varietie of lute lessons' which was
published in 1975 together with an LP of all the pieces in the
book. It was rather an exciting idea at the time. It formed part
of a series of publications of
Yes, the Hilliard Ensemble did quite a bit of this, and for the most
part I think it was very successful. Some rhymes work (things like
move and love), and some of our awkwardness with musical setting of
words (three syllables for endings like tion or cion, for instance)
disappears. There is
Understanding now that this is a version for beginners, I apologize for
telling Arto to throw away anything pedagogical from Anthony Rooley's hand. But
Arto is ready to move beyond the beginner's version!
Dan
Dan
On Jun 15, 2012, at 1:29 PM, Denys Stephens wrote:
Dear Arto,
I think you
I wonder if Anthony Rooley's modern edition is not taken from the The
duke of Sommersettes dompe found in an English MS -- for more detail
and the intabulation see Matthew Spring's History of the lute in Britain:
Dear Dan,
I agree with you! It's always best to play the real thing...
Although I have to say that I have always admired Tony Rooley for
his understanding of renaissance culture and musicianship. In the
case of the padoana, he rightly recognised that it has the sort
of 'cut paste' structure to
Hi, Benjamin.
You wrote:
I am in the process of looking for a new stereo system. Might any
of you on the list have any suggestions in this regard? I am looking
for a proper component system, probably at around the 500 Euro mark.
I am very impressed with the King-Rex components
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