[LUTE] Re: not about strings !

[Tristan von Neumann]

I like Kapsberger and Piccinini, and Michelagnolo Galilei.
Those pieces are ok to play, but most French stuff just doesn't sound 
right to me without the deeper register...



Am 15.12.2017 um 02:28 schrieb G. C.:

>Unfortunately, 7 courses don't take you very far.
Even if you should only have 7 courses, that is no reason, not to play
music made for different tunings or more courses. You can always
octavate bases, and most of the music happens on those 6 original ones
anyway.
G.

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[LUTE] Re: not about strings !

[G. C.]

   >Unfortunately, 7 courses don't take you very far.
   Even if you should only have 7 courses, that is no reason, not to play
   music made for different tunings or more courses. You can always
   octavate bases, and most of the music happens on those 6 original ones
   anyway.
   G.

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[LUTE] Re: not about strings !

[jslute]

   Don't leave out Cipriano de Tore.

   Sent from my Verizon, Samsung Galaxy smartphone

    Original message 
   From: Ron Andrico 
   Date: 12/14/17 12:31 PM (GMT-05:00)
   To: Tristan von Neumann , lutelist Net
   
   Subject: [LUTE] Re: not about strings !

  I agree one hundred percent with your "monodic desert" description
   of
  post-polyphonic music, although some would say "monodic dessert".
  Viewing the trajectory of sixteenth-century music, there was a
   tendency
  toward a greater degree of expressiveness, with extrovert effects
  prevailing over subtlety and substance in the end.  The best late
  sixteenth-century composers understood how to balance new harmonic
  devices with the sophistication of interweaving lines; Cardoso,
  Guerrero, Marenzio, Sweelinck, Peter Philips, and Dowland.
  But seventeenth century music is indeed more extrovert and
  performance-oriented than the more subtle and introspective music of
  the sixteenth century.  I believe this to be the thrust of the
   remarks
  J. Titelouze directed to Mersenne.
__
  From: lute-...@cs.dartmouth.edu  on
   behalf
  of Tristan von Neumann 
  Sent: Thursday, December 14, 2017 3:04 PM
  To: lutelist Net
  Subject: [LUTE] Re: not about strings !
  The complaint is surely understandable...
  Coming from lush madrigals of the likes of Marenzio and earlier
  Monteverdi the music of the 1620s sure look like a monodic desert.
  Am 14.12.2017 um 15:43 schrieb Jean-Marie Poirier:
  > Georges, Walsh Stuart did it before I could do anything !
  >
  > The end of the paragraph you quoted is worth reading too :
  >
  > "Secondement les esprits de ce temps sont préocupez de tant de
  vanité, d'ambition et d'avarice, que la musique
  > ne trouve plus lieu pour s'i loger puissament, de sorte que pour
   la
  musique et d'autres professions , les siècles ne
  > se ressemblent pas. Bien que je croie que jamais l'on a composé
   comme
  l'on fait maintenant avec tant de belles et
  > bonnes figures de contre-point et les instruments si parfaicts
  qu'ilz sont, ce  neantmoins je ne voy point en ces temps
  > derniers les effetz que j'ay veu il y a seulement vingt ans, que
   le
  siècle était plus doux et sensible aux armonie."
  >
  > "Secondly the minds these days (1622) are so occupied with vanity,
  ambition and avarice, that music does not find any
  > room left to get lodged there powerfully, so that for music and
   other
  professions, centuries do not look alike
  >   Although I believe that we have bever composed (music) as we do
   do
  now with so many beutuful and good figures
  > of counterpoint and ans with instruments as perfect as they are, I
  cannot see these days the effetx I saw only twenty years ago,
  > when the period was sweeter and more sensitive to harmony".
  >
  > Titelouze to  Mersenne, letter dated March 2, 1622.
  >
  > Best wishes,
  >
  > Jean-Marie
  >
  > --
  >
  >>
  >>> Luth, pouvoir de la musique et J. Titelouze.
  >>>
  >>>
  >>>  Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne Ã
  propos de la
  >>>  puissance de la musique des Anciens sur les passions :
  >>>
  >>>  « …Il me souvient d'avoir veu en ma jeunesse tout le
   monde
  admirer et
  >>>  se ravir d'un homme qui touchoit le lut et assez mal
   pourtant
  : et
  >>>  maintenant j'en voy cent plus habiles gens que luy mille
   fois,
  que l'on
  >>>  ne daigne pas presque écouter « .
  >>>
  >>>  On peut situer sa jeunesse  vers 1585, T. étant né en
   1563.
  La lettre
  >>>  est écrite 40 ans plus tard et je trouve  ce passage,
   venant
  d'un
  >>>  musicien tel que Titelouze, fort intéressant. Dans le
   dernier
  quart du
  >>>  XVIe un instrumentiste médiocre faisait de l'effet…
  >>>
  >>>  40 ans plus tard de bons musiciens ne boulversent plus
   leurs
  auditeurs,
  >>>  comme Francesco à la fin du banquet.
  >>>
  >>>  Quand j''étais étudiant on écoutait avec intérêt 
un
  copain massacrant
  >>>  du Django Reinhardt : les brillants musiciens « manouches »
  actuels
  >>>  m'intéressent assez peu.
  >>>
  >>>  Je préfère l'original ; Est-ce une répétition de ce 
que
  décrit
  >>>  Titelouze ?
  >>
  >> Google translate is amazing: translations between many different
  >> languages. And it's 

[LUTE] Re: not about strings !

[G. C.]

   >Unfortunately, 7 courses don't take you very far.
   Could you pls. elaborate? I'm not sure what you are saying with this.
   G.

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[LUTE] Re: not about strings !

[Tristan von Neumann]

This is one way to look at it, and these Lutists certainly were the Erik 
Saties of their time. "Musique d'ameublement" in rooms rich in reverb.

I can see the appeal!
Unfortunately, 7 courses don't take you very far.

Am 14.12.2017 um 23:14 schrieb G. C.:

Yes, of course this music is "formulaic and skinny". That's the whole
point! To allow the 10 / 11 course to sing with its newly aquired bass
register. To savour and bring out the emerging notion of "affekt". Its
a reaction to the rich polyphony of the cinquecento. Meditative,
poised, quite deep in its simplicity IIMSS, in spite of its
formulaeicity :)
G.
On Thu, Dec 14, 2017 at 8:24 PM, Matthew Daillie
<[1]dail...@club-internet.fr> wrote:
On 14/12/2017 19:32, Tristan von Neumann wrote:

  True, but compared to earlier styles, these seem kind of skinny,
  also oftentimes formulaic.

Skinny and formulaic?? Have you been using Google translate again?

--

References

1. mailto:dail...@club-internet.fr


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[LUTE] Re: not about strings !

[G. C.]

   Yes, of course this music is "formulaic and skinny". That's the whole
   point! To allow the 10 / 11 course to sing with its newly aquired bass
   register. To savour and bring out the emerging notion of "affekt". Its
   a reaction to the rich polyphony of the cinquecento. Meditative,
   poised, quite deep in its simplicity IIMSS, in spite of its
   formulaeicity :)
   G.
   On Thu, Dec 14, 2017 at 8:24 PM, Matthew Daillie
   <[1]dail...@club-internet.fr> wrote:
   On 14/12/2017 19:32, Tristan von Neumann wrote:

 True, but compared to earlier styles, these seem kind of skinny,
 also oftentimes formulaic.

   Skinny and formulaic?? Have you been using Google translate again?

   --

References

   1. mailto:dail...@club-internet.fr


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[LUTE] Re: not about strings !

[Matthew Daillie]

On 14/12/2017 19:32, Tristan von Neumann wrote:
True, but compared to earlier styles, these seem kind of skinny, also 
oftentimes formulaic.


Skinny and formulaic?? Have you been using Google translate again?




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[LUTE] Re: not about strings !

[Tristan von Neumann]

True, but compared to earlier styles, these seem kind of skinny, also 
oftentimes formulaic. (I love Froberger though, I used to play some of 
his fugues on my piano.)


But this is surely different in different countries... in Germany at 
least colorful Venetian Style vocal and instrumental music and 
traditional counterpoint seem to have more weight (Praetorius, Schütz).


Where 17th century really shines IMHO is in instrumental music based on 
Gabrieli, Valentini, Bertali and similar music in Stylo Phantastico, 
especially the ones scored Violin, Cornetto, Dulcian, Trombone 
That style has its pinnacle in the Sonatas of Matthias Weckmann, if you 
don't know those, there's a real treat you would not imagine: Actual 
developments of themes in the spirit more of Beethoven than 17th century 
forms. There is even a long theme whose parts can be stacked as 
counterpoints, and those parts of the theme are developed individually, 
carefully built up to a culmination point.

(Sonata 4).
Sonata 3 has an idea similar to Beethoven's 1st movement of the Eroica, 
it introduces a new theme in the middle, while leaving a "problem" or 
antagonism unsolved. The middle is a really developmental part of the 
sonata, with crazy modulations.
There is a false reprise trick, leading to an actual reprise with the 
antagonism solved, ending in quite ecstatic sounds.
It seems obvious now that Matthias Weckmann is one of my favourites in 
the 17th century... but indeed I think this guy is underrated, much like 
Praetorius.


Anyway, I guess the availability of music was an issue too. One would 
not complain if one knew some likable style from other countries and 
courts who never made it past the library.


Am 14.12.2017 um 18:59 schrieb Matthew Daillie:

On 14/12/2017 18:31, Ron Andrico wrote:

But seventeenth century music is indeed more extrovert and
    performance-oriented than the more subtle and introspective music of
    the sixteenth century.  I believe this to be the thrust of the 
remarks

    J. Titelouze directed to Mersenne


What about Gallot, (les) Gauthier(s), Mesangeau, Mouton, Louis Couperin, 
Froberger, William Lawes, d'Anglebert, Frescobaldi, to name but a few?


Best,

Matthew



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[LUTE] Re: not about strings !

[Matthew Daillie]

On 14/12/2017 18:31, Ron Andrico wrote:

But seventeenth century music is indeed more extrovert and
performance-oriented than the more subtle and introspective music of
the sixteenth century.  I believe this to be the thrust of the remarks
J. Titelouze directed to Mersenne


What about Gallot, (les) Gauthier(s), Mesangeau, Mouton, Louis Couperin, 
Froberger, William Lawes, d'Anglebert, Frescobaldi, to name but a few?


Best,

Matthew



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[LUTE] Re: Titelouze

[Jean-Marie Poirier]

Another interesting quote about the power of music, very similar to Pontus de 
Tyard, if not purely lifted from him :
taken from Essay des Merveilles de Natures, 1622, p. 503. Can be seen there, 
from Gallica : 
https://tinyurl.com/y9cbqwqj

Jean-Marie


--
 
>   Thanks to translators !
>   Yes the second part is equally interesting and could fit to any
>   century, alas.
>   I just wonder what was the average listener in mid XVI century...and
>   Titelouze was bringing an unusual piece of information. What about the
>   Francesco's banquet audience ? Maybe too much wine...
>   Hope to read more from the list knowledge.
>   Georges
>--
>Georges de Lucenay
>11, rue du Prieuré
>71120 - Charolles
>
>06 77 77 12 33
>[1]luce...@gmail.com
>
>   --
>
>References
>
>   1. mailto:luce...@gmail.com
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: not about strings !

[Tristan von Neumann]

The complaint is surely understandable...

Coming from lush madrigals of the likes of Marenzio and earlier 
Monteverdi the music of the 1620s sure look like a monodic desert.



Am 14.12.2017 um 15:43 schrieb Jean-Marie Poirier:

Georges, Walsh Stuart did it before I could do anything !

The end of the paragraph you quoted is worth reading too :

"Secondement les esprits de ce temps sont préocupez de tant de vanité, 
d'ambition et d'avarice, que la musique
ne trouve plus lieu pour s'i loger puissament, de sorte que pour la musique et 
d'autres professions , les siècles ne
se ressemblent pas. Bien que je croie que jamais l'on a composé comme l'on fait 
maintenant avec tant de belles et
bonnes figures de contre-point et les instruments si parfaicts  qu'ilz sont, ce 
 neantmoins je ne voy point en ces temps
derniers les effetz que j'ay veu il y a seulement vingt ans, que le siècle était 
plus doux et sensible aux armonie."

"Secondly the minds these days (1622) are so occupied with vanity, ambition and 
avarice, that music does not find any
room left to get lodged there powerfully, so that for music and other 
professions, centuries do not look alike
  Although I believe that we have bever composed (music) as we do do now with 
so many beutuful and good figures
of counterpoint and ans with instruments as perfect as they are, I cannot see 
these days the effetx I saw only twenty years ago,
when the period was sweeter and more sensitive to harmony".

Titelouze to  Mersenne, letter dated March 2, 1622.

Best wishes,

Jean-Marie

--
  



Luth, pouvoir de la musique et J. Titelouze.


 Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne à propos de la
 puissance de la musique des Anciens sur les passions :

 « …Il me souvient d'avoir veu en ma jeunesse tout le monde admirer et
 se ravir d'un homme qui touchoit le lut et assez mal pourtant : et
 maintenant j'en voy cent plus habiles gens que luy mille fois, que l'on
 ne daigne pas presque écouter « .

 On peut situer sa jeunesse  vers 1585, T. étant né en 1563. La lettre
 est écrite 40 ans plus tard et je trouve  ce passage, venant d'un
 musicien tel que Titelouze, fort intéressant. Dans le dernier quart du
 XVIe un instrumentiste médiocre faisait de l'effet…

 40 ans plus tard de bons musiciens ne boulversent plus leurs auditeurs,
 comme Francesco à la fin du banquet.

 Quand j''étais étudiant on écoutait avec intérêt un copain massacrant
 du Django Reinhardt : les brillants musiciens « manouches » actuels
 m'intéressent assez peu.

 Je préfère l'original ; Est-ce une répétition de ce que décrit
 Titelouze ?


Google translate is amazing: translations between many different
languages. And it's free...insofar as anything from google is free.. a
lure into a google-dominated world.

More to the point I find it almost useless.

Here is the translation of Georges:

Lute, power of music and J. Titelouze.


    March 2, 1622 Jehan Titelouze writes to Father Mersenne about the
    power of the music of the Ancients on the passions:

    "I remember seeing everyone in my youth watching and admiring
    to get away from a man who touched the lute and bad enough though: and
    now I see a hundred more clever people than a thousand times, that one
    do not almost deign to listen to ".

    One can situate his youth towards 1585, T. being born in 1563. The
letter
    is written 40 years later and I find this passage, coming from a
    musician such as Titelouze, very interesting. In the last quarter of
    Sixteenth a mediocre instrumentalist made the effect |

    40 years later good musicians do not bother their listeners,
    like Francesco at the end of the banquet.

    When I was a student, we were eagerly interested in a slaughtering
friend
    of Django Reinhardt: the brilliant musicians "manouches" current
    I do not like enough.

    I prefer the original; Is this a repetition of what is described
    Titelouze?


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[LUTE] Titelouze

[Georges de Lucenay]

   Thanks to translators !
   Yes the second part is equally interesting and could fit to any
   century, alas.
   I just wonder what was the average listener in mid XVI century...and
   Titelouze was bringing an unusual piece of information. What about the
   Francesco's banquet audience ? Maybe too much wine...
   Hope to read more from the list knowledge.
   Georges
--
Georges de Lucenay
11, rue du Prieuré
71120 - Charolles

06 77 77 12 33
[1]luce...@gmail.com

   --

References

   1. mailto:luce...@gmail.com


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[LUTE] Re: not about strings !

[Jean-Marie Poirier]

Georges, Walsh Stuart did it before I could do anything !

The end of the paragraph you quoted is worth reading too :

"Secondement les esprits de ce temps sont préocupez de tant de vanité, 
d'ambition et d'avarice, que la musique 
ne trouve plus lieu pour s'i loger puissament, de sorte que pour la musique et 
d'autres professions , les siècles ne 
se ressemblent pas. Bien que je croie que jamais l'on a composé comme l'on fait 
maintenant avec tant de belles et 
bonnes figures de contre-point et les instruments si parfaicts  qu'ilz sont, ce 
 neantmoins je ne voy point en ces temps 
derniers les effetz que j'ay veu il y a seulement vingt ans, que le siècle 
était plus doux et sensible aux armonie."

"Secondly the minds these days (1622) are so occupied with vanity, ambition and 
avarice, that music does not find any 
room left to get lodged there powerfully, so that for music and other 
professions, centuries do not look alike
 Although I believe that we have bever composed (music) as we do do now with so 
many beutuful and good figures
of counterpoint and ans with instruments as perfect as they are, I cannot see 
these days the effetx I saw only twenty years ago,
when the period was sweeter and more sensitive to harmony".

Titelouze to  Mersenne, letter dated March 2, 1622.

Best wishes,

Jean-Marie 

--
 
>
>> Luth, pouvoir de la musique et J. Titelouze.
>>
>>
>> Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne à propos de la
>> puissance de la musique des Anciens sur les passions :
>>
>> « …Il me souvient d'avoir veu en ma jeunesse tout le monde admirer et
>> se ravir d'un homme qui touchoit le lut et assez mal pourtant : et
>> maintenant j'en voy cent plus habiles gens que luy mille fois, que l'on
>> ne daigne pas presque écouter « .
>>
>> On peut situer sa jeunesse  vers 1585, T. étant né en 1563. La lettre
>> est écrite 40 ans plus tard et je trouve  ce passage, venant d'un
>> musicien tel que Titelouze, fort intéressant. Dans le dernier quart du
>> XVIe un instrumentiste médiocre faisait de l'effet…
>>
>> 40 ans plus tard de bons musiciens ne boulversent plus leurs auditeurs,
>> comme Francesco à la fin du banquet.
>>
>> Quand j''étais étudiant on écoutait avec intérêt un copain 
>> massacrant
>> du Django Reinhardt : les brillants musiciens « manouches » actuels
>> m'intéressent assez peu.
>>
>> Je préfère l'original ; Est-ce une répétition de ce que décrit
>> Titelouze ?
>
>Google translate is amazing: translations between many different 
>languages. And it's free...insofar as anything from google is free.. a 
>lure into a google-dominated world.
>
>More to the point I find it almost useless.
>
>Here is the translation of Georges:
>
>Lute, power of music and J. Titelouze.
>
>
>    March 2, 1622 Jehan Titelouze writes to Father Mersenne about the
>    power of the music of the Ancients on the passions:
>
>    "I remember seeing everyone in my youth watching and admiring
>    to get away from a man who touched the lute and bad enough though: and
>    now I see a hundred more clever people than a thousand times, that one
>    do not almost deign to listen to ".
>
>    One can situate his youth towards 1585, T. being born in 1563. The 
>letter
>    is written 40 years later and I find this passage, coming from a
>    musician such as Titelouze, very interesting. In the last quarter of
>    Sixteenth a mediocre instrumentalist made the effect |
>
>    40 years later good musicians do not bother their listeners,
>    like Francesco at the end of the banquet.
>
>    When I was a student, we were eagerly interested in a slaughtering 
>friend
>    of Django Reinhardt: the brilliant musicians "manouches" current
>    I do not like enough.
>
>    I prefer the original; Is this a repetition of what is described
>    Titelouze?
>
>
>---
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>https://www.avast.com/antivirus
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: not about strings !

[Tristan von Neumann]

Am 14.12.2017 um 12:49 schrieb WALSH STUART:
> Google translate is amazing: translations between many different
> languages. And it's free...insofar as anything from google is free.. a
> lure into a google-dominated world.

It's not so amazing. It could be much better.
Google translate runs every language through English first, then 
translates to the destination language.
I will never understand how a programmer (!) cannot see that the English 
language is very sketchy at best. Context is very important, but you 
can't rely on context because computer programs can only guess, never do 
they know.
Other languages are much more precise and would serve much better as an 
intermediate. For example Sanskrit, German or Aymara would give much 
better results.


So here's the tip: be aware that all texts will run through English 
regardless. If you use translate to communicate, always write English.
If you need a text translated into a non-English language, always use 
the English version as a source, if available.




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[LUTE] Re: not about strings !

[WALSH STUART]

Luth, pouvoir de la musique et J. Titelouze.


Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne à propos de la
puissance de la musique des Anciens sur les passions :

« …Il me souvient d'avoir veu en ma jeunesse tout le monde admirer et
se ravir d'un homme qui touchoit le lut et assez mal pourtant : et
maintenant j'en voy cent plus habiles gens que luy mille fois, que l'on
ne daigne pas presque écouter « .

On peut situer sa jeunesse  vers 1585, T. étant né en 1563. La lettre
est écrite 40 ans plus tard et je trouve  ce passage, venant d'un
musicien tel que Titelouze, fort intéressant. Dans le dernier quart du
XVIe un instrumentiste médiocre faisait de l'effet…

40 ans plus tard de bons musiciens ne boulversent plus leurs auditeurs,
comme Francesco à la fin du banquet.

Quand j''étais étudiant on écoutait avec intérêt un copain massacrant
du Django Reinhardt : les brillants musiciens « manouches » actuels
m'intéressent assez peu.

Je préfère l'original ; Est-ce une répétition de ce que décrit
Titelouze ?


Google translate is amazing: translations between many different 
languages. And it's free...insofar as anything from google is free.. a 
lure into a google-dominated world.


More to the point I find it almost useless.

Here is the translation of Georges:

Lute, power of music and J. Titelouze.


   March 2, 1622 Jehan Titelouze writes to Father Mersenne about the
   power of the music of the Ancients on the passions:

   "I remember seeing everyone in my youth watching and admiring
   to get away from a man who touched the lute and bad enough though: and
   now I see a hundred more clever people than a thousand times, that one
   do not almost deign to listen to ".

   One can situate his youth towards 1585, T. being born in 1563. The 
letter

   is written 40 years later and I find this passage, coming from a
   musician such as Titelouze, very interesting. In the last quarter of
   Sixteenth a mediocre instrumentalist made the effect |

   40 years later good musicians do not bother their listeners,
   like Francesco at the end of the banquet.

   When I was a student, we were eagerly interested in a slaughtering 
friend

   of Django Reinhardt: the brilliant musicians "manouches" current
   I do not like enough.

   I prefer the original; Is this a repetition of what is described
   Titelouze?


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[LUTE] not about strings !

[Georges de Lucenay]

   Luth, pouvoir de la musique et J. Titelouze.


   Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne à propos de la
   puissance de la musique des Anciens sur les passions :

   « …Il me souvient d'avoir veu en ma jeunesse tout le monde admirer et
   se ravir d'un homme qui touchoit le lut et assez mal pourtant : et
   maintenant j'en voy cent plus habiles gens que luy mille fois, que l'on
   ne daigne pas presque écouter « .

   On peut situer sa jeunesse  vers 1585, T. étant né en 1563. La lettre
   est écrite 40 ans plus tard et je trouve  ce passage, venant d'un
   musicien tel que Titelouze, fort intéressant. Dans le dernier quart du
   XVIe un instrumentiste médiocre faisait de l'effet…

   40 ans plus tard de bons musiciens ne boulversent plus leurs auditeurs,
   comme Francesco à la fin du banquet.

   Quand j''étais étudiant on écoutait avec intérêt un copain massacrant
   du Django Reinhardt : les brillants musiciens « manouches » actuels
   m'intéressent assez peu.

   Je préfère l'original ; Est-ce une répétition de ce que décrit
   Titelouze ?

   Jean-Marie pourra peut-être traduire le passage pour les anglophones ?
--
Georges de Lucenay
11, rue du Prieuré
71120 - Charolles

06 77 77 12 33
[1]luce...@gmail.com

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References

   1. mailto:luce...@gmail.com


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[LUTE] Re: A stringing question for Sellas E. 545

[Martyn Hodgson]

   Dear Martin and Miles,
   There is another alternative: for theorbos with octave basses one could
   employ an octave disposition on the final fingered course (ie the
   sixth) - after all, this is how lutes were generally strung in this
   period.  This would smooth the aural transition from stopped sixth to
   open seventh course.
   And perhaps a high octave sound on the bourdons was something the Old
   Ones enjoyed anyway?  - so a, to modern ears, intrusive seventh course
   octave may have been perfectly satisfactory to them.  Shades, of
   course, of the octave re-entrant tuning of guitars of the
   period
   MH
 __

   From: Miles Dempster 
   To: Lute List 
   Sent: Wednesday, 13 December 2017, 16:24
   Subject: [LUTE] Re: A stringing question for Sellas E. 545
   Would it be an acceptable solution, for the 7th course, to make an
   exception and use an octave string whose density is less than that of
   gut? A nylon octave would have a thickness of .4mm or more. In the
   grand scheme of things would it sound out of place in comparison to the
   remaining diapasons with their gut octaves?
   Miles
   > On Dec 13, 2017, at 5:02 AM, Martin Shepherd
   <[1]mar...@luteshop.co.uk> wrote:
   >
   > The problem with having unisons on 7, 8, etc is how far to go before
   the transition to octaves, and how noticeable that transition is going
   to be.  Good luck, Magnus!
   >
   > BTW, does anyone have a really good reproduction of the Puget they
   could share?  I only have a very indistinct one.
   >
   > Martin
   >
   >
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References

   1. mailto:mar...@luteshop.co.uk
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