[LUTE] Re: a twelve-tone Jigg by Margriet Verbeek
Thanks Stuart - like it! Do you know: did Margriet Verbeek write this specifically for lute - or for guitar? Best Andrew On 8 May 2011, at 10:20, Stuart Walsh wrote: On 08/05/2011 07:22, Gilbert Isbin wrote: A very nice happy composition, well played and the video fits wonderfully with the music.Sounds great on the lute.! Gilbert http://users.telenet.be/gilbert.isbin/contents.html Thanks Gilbert. It's fun to play. And unusual to have twelve-tone music without the angst. And thanks to the demented tit who was going mad on a garden ornament just outside my house a few months ago. Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cadbury chocolates are the best! OT
In Britain, the correct answer is: 'Because they can't get the wrappers off.' (Because McVitie's 'Penguin' chocolate bars are a popular snack - this was one of my favourite jokes when I was a kid.) Andrew On 4 Feb 2011, at 20:55, wikla wrote: Congrats Lex! You were the first in the public list! :) There was only one before you, but only privately. Arto PS This actually was an enigma by/for the 7 to 8 year old school children here... ;) On Fri, 4 Feb 2011 20:36:15 +0100, Lex van Sante lvansa...@gmail.com wrote: Because they live on different poles? Cheers! Lex Op 4 feb 2011, om 16:57 heeft wikla het volgende geschreven: Arto PS Do you know, why polar bears do not eat penguins? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mark Smeaton
Thank you G! I've just found that the book of music mentioned here is MS 1070 in the collection of the Royal College of Music. The RCM web site says: 'An early 16th-century choir book containing 39 Latin motets and 3 French chansons by Franco-Flemish composers. Compelling evidence suggests that it was prepared for Anne Boleyn by Mark Smeton, a musician at Henry VIII’s court.' Best Andrew On 25 Jan 2011, at 22:06, G. Crona wrote: I don't know if the quote at the end of this link is authentic http://tudorswiki.sho.com/page/Mark+Smeaton?t=anon G. - Original Message - From: Andrew Gibbs and...@publicworksoffice.co.uk To: Lute Net lute@cs.dartmouth.edu Sent: Tuesday, January 25, 2011 2:45 PM Subject: [LUTE] Mark Smeaton Hello List I've been reading Hilary Mantel's 'Wolf Hall'. Mark Smeaton (lutenist/ virginalist who was executed on a probably trumped-up charge of adultery with Anne Boleyn) makes several appearances in the novel. An optimistic question: does anyone know of any music associated with or attributed to Mark Smeaton? Best Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Mark Smeaton
Hello List I've been reading Hilary Mantel's 'Wolf Hall'. Mark Smeaton (lutenist/ virginalist who was executed on a probably trumped-up charge of adultery with Anne Boleyn) makes several appearances in the novel. An optimistic question: does anyone know of any music associated with or attributed to Mark Smeaton? Best Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: modern lute music by Christian Vasseur
Thank you Stuart - very much enjoyed the music and your performances. Christian Vasseur has two CDs available on the lovely 'Humming Conch' label: http://www.hummingconch.net/artists/christian-vasseur Best Andrew On 15 Jan 2011, at 22:28, Stuart Walsh wrote: Christian Vasseur wrote some lute pieces about twenty years ago. They are not in an 'advanced' atonal idiom. There is a fair amount of humour, mischief or whimsy in some of the pieces and the player often has to make some final decisions about how to play the music. Here's a stab at three: 1) This is La vida es un ciervo herida for lute or vihuela and a reference to Gongora. It is marked, lento. Luis de Gongora is a Spanish poet (1561-1627) and the line translates as: Life is wounded stag. (Life is a wounded stag in whom the fast-stuck arrows function as wings.) Well... [1]http://www.youtube.com/watch?v=zoy3_9ntp94 2) This is Yann Queffetleant's Jig There is a Breton guitar player with that name but this is surely not a jig (?) [2]http://www.youtube.com/watch?vápf3CDTAIc and 3) Untitled. No tempo indications.. The player is left to get on with it, presumably. [3]http://www.youtube.com/watch?v=PZUjcZ-osaA Very interesting, characterful pieces. Stuart -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A New Series
Blimey that was quick! 10/4 and 4/4 alternating is lovely - nice work Stuart - and Roman too, of course. Best Andrew On 5 Jan 2011, at 21:36, Stuart Walsh wrote: On 05/01/2011 05:17, Roman Turovsky wrote: I have started a new series of Ukrocentric pieces in the renaissance tuning. It is aptly named Cantiones Sarmatoruthenicae. First crop - http://www.torban.org/sarmatoruthenicae/images/300.pdf Happy new year http://www.youtube.com/watch?v=1rudnoqb0ck Stuart -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: EMS Lutes
I can second that - James made me a lovely (plain in nice way) 'Hans Frei' 7-course. Nice clear sound, very playable. I think it sounds even better now it's four years old. (another) Andrew On 23 Nov 2010, at 14:52, Stewart McCoy wrote: Dear Andrew, If you are looking for a reasonably priced lute, you could try James Marriage. He sells a student lute @ £823: http://www.jminstruments.com/instruments.aspx Good luck, Stewart McCoy. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Andrew White Sent: 22 November 2010 02:46 To: lute list lute Subject: [LUTE] EMS Lutes Hi all, I have a student interested in taking up the lute, but she doesn't want to spent too much money initially. She asked about the EMS lutes, unfortunately I have never seen or heard one before so I can't really offer she any advise. I was hoping anyone familiar with these lutes could comment on their quality / value for money, and whether these lutes are a good option for a beginner with a small budget. Cheers, Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Monica's website
It certainly was impressive and entertaining - really difficult music (Terzi duets) played fast and accurate - I was a bit dazed afterwards... Andrew On 18 May 2010, at 08:50, Monica Hall wrote: And thanks for the brilliant recital - one of the best we have had in recent years. Monica -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cabezon - Tiento 7 del Cuarto Tono
Thanks again Anton - this would be an ideal candidate for the online collection of Cabezón's complete works I posted about recently: http://www.fimte.org/Cabezon500eng.htm Deadline is May 15. Andrew (also we need a good candidate for the job of Prime Minister of the United Kingdom - the position's still open...) On 7 May 2010, at 10:41, Anton Höger wrote: Hi, I have uploaded a new Lute Duet for 2 equal lutes. (Unisono) at mediafire. Cabezon - Tiento 7 del Cuarto Tono http://www.mediafire.com/? sharekey=2ff9bbd6c00cf4bce5c3dee5769931ec4cc8e15564edcfa13e34c0a955f98 962 Enjoy them Greetings Anton -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lucca - Corrente
Hello Anton - my excuse: I've been so busy recently, I haven't had a chance to play through any of the tempting pieces that you've generously been sharing - but I'm looking forward to tackling a duet as soon as I can. Please don't delete! and please accept my appreciation in advance... Andrew On 30 Apr 2010, at 14:18, Anton Höger wrote: hi, I have uploaded a Corrente from the Lucca manuscript, for a 7 ch-Lute. And, of course, I wrote a Contrepartie for a second obligate lute. It sounds very nice, and its easy to play. Enjoy it. P.S.: If I dont get any feedback of my work, I will not upload anymore and will delete all uploads! To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cabezón performances wanted
To celebrate the 500th anniversary of Antonio de Cabezón's birth, FIMTE (Festival Internacional de Música de Tecla Española) are organising an online collection of Cabezón's complete works. They're calling for performances (on any instrument, solo or ensemble) to be submitted as mp3s. Deadline is May 15. From June, the collection of selected performances will be available online at the FIMTE website. Here's the link to the website with guidelines for submission: http://www.fimte.org/Cabezon500eng.htm Looking at the page again just now, I can see they have a list of the pieces already received. Andrew (last year I started working out a lute intab. of Te lucis ante terminum - hopefully I'll get that done before the deadline - but I'm not claiming dibs!) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: HIP, was string tension of all things
Pythagoras would say Music of the spheres? On 29 Mar 2010, at 21:23, Eugene C. Braig IV wrote: Since we seem to have drifted a fair distance from string tensions, you've omitted what I find to be the most irritating genre designation: World - I challenge any musicologist or casual fan to demonstrate a piece of music that didn't originate on our world. Eugene -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: judenkunig 1523 facsimile
Thanks Wolfgang - this is beautiful. I've always liked the illustration on page 3 - does anyone know if the lute player is a portrait of Hans Judenkünig? Really like the hand diagrams as well. Andrew On 22 Mar 2010, at 13:20, wolfgang wiehe wrote: and here a next digitalisat: http://daten.digitale-sammlungen.de/~db/0004/bsb00043293/images/ w. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Switching between gut strings and synthetics?
Away with these self-loving synthetics, Whom Cupid's arrow never... err hmmm... wears cosmetics... needs local anaesthetics?...bad poetics! On 28 Jan 2010, at 13:13, Monica Hall wrote: I wholeheartedly agree. The same is true for the baroque guitar. Away with all these synthetics. Monica -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thumb rest stroke - 'lute stop' evidence
To add to the confusion: 17th c. harpsichord makers added another feature called a buff stop that had the opposite effect - it pressed leather pads against the strings to mute them. French and German makers called this respectively a 'registre de luth' or 'Lautenzug'. I have no idea why this would be considered lute-like - unless lute players were damping the strings with the heel of their right hand? Andrew common in Flemish and English models but not Italians On 21 Jan 2010, at 09:25, Martyn Hodgson wrote: There seems to be some confusion here: the reference wasn't to exotic instruments (such as the lute-harpsichord/lautenclavicymbal etc) but to normal run of the mill English harpsichords in which an additional row of jacks placed closer to the bridge than the main ones was/is called the 'lute stop' (sometimes 'theorbo stop'). Hence my remark that this also supports a closer to the bridge (and more brittle/brilliant sound) hand position than is the fashion today for 'baroque' lutes. MH -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thumb rest stroke - 'lute stop' evidence
Agricola wrote: ... heard a 'Lautenclavicymbel' in Leipzig in about 1740, designed by Mr. Johann Sebastian Bach and made by Mr. Zacharias Hildebrand, which was smaller in size than a normal harpsichord but in all other respects similar. It had two choirs of gut strings, and a so-called little octave of brass strings. It is true that in its normal setting (that is, when only one stop was drawn) it sounded more like a theorbo than a lute. But if one drew the lute-stop (such as is found on a harpsichord) together with the cornet stop, one could almost deceive professional lutenists. I think we have to take this with a large pinch of salt - like you say, modern reconstructions of lautenwerks sound exactly as you would expect - like a gut-strung harpsichord with leather plectra. Andrew On 20 Jan 2010, at 18:37, chriswi...@yahoo.com wrote: Yes. Also compelling are the contemporary descriptions of the lautenwerk as being nearly sonically indistinguishable from the lute. There are even reports that professional lute players could be fooled if the instruments were played behind a screen. From the sound of the modern lautenwerks I've heard, I have never once feared that I might make the same mistake! Chris -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: another day at the office
As Professor Goldthwait Higginson Dorr, Ph.D. said: 'Madam, we are not musicians of the late Renaissance.' Andrew On 18 Dec 2009, at 12:41, Rob MacKillop wrote: Period performance is ultimately doomed, of course - our ears have heard Schoenberg, Hendrix, Madonna. We can never hear how the original audience heard. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 1295
I thought that the OED was updated yearly - on checking their website, I see that the online version is updated every three months. The OED also has its own BBC TV program (Balderdash Piffle) that invites people to propose earlier usages and new words. Ah - the web site has a 'Contribute to the OED' page with a 'New Etymological and Dating Evidence' section: http://www.oed.com/readers/research.html Does someone want to update the OED lute-wise? Andrew On 10 Dec 2009, at 15:02, Stephen Fryer wrote: Andrew Gibbs wrote: Thank you Dennis - and Joseph - the 1295 date tallies with Janin Le Lutour's beginning service as a minstrel to the Prince of Wales - presumably it's in this list of musicians employed in the year 1295 that the word 'lute' appears. but the OED doesn't know about it?.. Remember how long ago the OED was compiled. The 1295 information was probably not available then. Stephen Fryer -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] 1295
An idle question for the List: According to this online etymological dictionary, the earliest surviving written record of the word 'lute' in English dates from 1295. http://www.etymonline.com/index.php?search=lutesearchmode=none Does anyone know the what this 1295 source is? Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Terminology: brise
Perhaps my reading is keyboard-centric - I often see 'style luthe' referring to a specific keyboard composition technique. JSB used it - holding a note so that the impression of two parts is created. I mean he used the technique - no idea if he used the term. I think its also called complimentary voice-leading? Donnington uses the term 'lute- play' - don't know if that's historical or his coinage. Like you say, 'style luthe' gets used in wider contexts - until it disappears in a puff of vagueness... Andrew On 1 Dec 2009, at 10:15, David Tayler wrote: Style Luthe can only mean something that the lute can do that other instruments cannot, including the harp. Since arpeggios exist in keyboard music going back to the renaissance, as well as paired articulation (baroque keyboard players used two fingered scales) the most likely interpretation for the term is unmeasured preludes or a type of harmonic structure that is not possible to play on the keyboard but can be adapted that has to do with the break points of the two hands. A wider context would simply be the overall style of certain French composers. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Terminology: brise
On 30 Nov 2009, at 13:44, Jaroslaw Lipski wrote: snip Harpsichord players wanted to imitate lute playing snip Yes - my amateur understanding is that style luthe is different from brise - in that style luthe was a keyboard composition/perfomance style, in which elements of lute technique were translated into keyboard technique, e.g. holding certain notes in a melodic sequence to fill up the vertical harmony - in the way that lutenists tend to hold notes as long as possible regardless of what their real value may be (or not stop notes - I'm not describing this particularly well but I hope you can figure out what I mean...). As the name would suggest, the aim was to suggest the texture of the lute - typical ornaments, an 'unmeasured' treatment of tempo, etc. Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New ways
Hello Mathias It didn't. You may suspect me of being some kind of purist - I'm not - but it seems to me that this guy is barking up the wrong tree - or even several wrong trees. I think it's that lute-holding contraption that makes me grumpy. Gr. Andrew On 20 Nov 2009, at 11:27, Mathias Rösel wrote: Are we? There are recordings with mid-19th century carols on the baroque lute... All's well that ends well, don't they say. Or All's well that pleases (Torquato Tasso, Act 2). Mathias Andrew Gibbs and...@publicworksoffice.co.uk schrieb: We are experiencing some severe historical disorientation. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New ways OT
Thank you Eugene! this is ace - but now I want a glass harmonica. Uh oh. And respect to Benjamin Franklin. Andrew On 20 Nov 2009, at 14:35, Eugene C. Braig IV wrote: If speaking of the old ways, doesn't this seem even more appropriate in this context (track 3)? http://www.amazon.com/Music-For-Glass-Harmonica/dp/B001FE871Y/ ref=sr_1_1?ie UTF8s=dmusicqid58727603sr=8-1 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New ways
Hello Chris - I certainly know what you mean about back pains. I'm guessing from the range of devices - straps, cords, hooks and loops, etc - that lute players in the past have tried - that our aches and pain, at least, have plenty of historical precedence. I believe Jacob Heringman gives combined lute/Alexander Technique classes that focus on issues like posture, balance and relaxation/ tension. For me, this would be the way forward - rather than mechanical implements. Best of luck with whatever solution you find works for you. Andrew On 21 Nov 2009, at 14:37, chriswi...@yahoo.com wrote: Andrew, I think the lute holding device is a valid option. I've thought of making or adapting a similar contraption myself. There needs to be something out there to help make things a bit more ergonomic and save the back after hours of practicing. For me, all manner of holds, straps, footstools, etc. simply consist in choosing the least bad option. Chris Morrongiello's experiments with resting the lute on a table seems like a pretty good idea. This is interesting and historical, but not very practical for practicing/rehearsing in a lot of different locations, which I do quite a lot. I'll never forget the great experience I had with classical guitar when I went from the traditional footstool to using an Ergoplay (an aluminum frame that allows you to put both feet on the floor). When practicing, I had been used to gauging when it was time to take a break by the tightness in my back. With the footstool, I was required to stretch out every 45 minutes or so. The first time I practiced with an Ergoplay, however, I was shocked to look at a clock and see that I had gone three hours straight without getting up - and my back still felt fine. This is not a happy experience I've ever had with my lute practice sessions. Personally, I could care less about the historical precedence for such a device. Chris (not a paid spokesman for the Ergoplay corporation) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New ways
We are experiencing some severe historical disorientation. On 20 Nov 2009, at 07:39, Valery Sauvage wrote: New way to tune, to hold, and Mozart played on renaissance lute by a Japanese player... [1]http://www.youtube.com/watch?v=q2RgP9MtM8c Interesting isn't it V. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Greenwich festival - latest news
The Greenwich EM festival was evacuated yesterday due to a 'security incident' - I hope this wasn't a preemptive strike by disgruntled lute partisans. Andrew On 16 Nov 2009, at 02:25, Caroline S. Chamberlain wrote: Dear Stuart Thank you for sharing these photos. Alas, Greenwich is too far away for me to come from Coolum Beach in Queensland, Australia! Kind regards Caroline To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Greenwich festival
There's usually several lute luthiers exhibiting - and the Lute Society have a stand. The year before last Jacob Heringman gave a great recital - solo and duet with recorder. A lute masterclass would be good idea - perhaps someone influential could make some suggestions to the organisers... Andrew On 12 Nov 2009, at 18:17, JarosÅaw Lipski wrote: I've just checked the programm of Greenwich early music festival. It seems to be packed with lots of events - concerts, masterclasses, makers demonstration recitals, etc ( [1]http://tinyurl.com/ ya5p4mh ). All early instruments are represented, however during the whole 3 days of activities there is no lute mentioned. Oh, sorry, there is the Oud maker demonstration recital, as that instrument seems to fit better the whole scenario for some organisers. Ok, we can survive, but my question is what is the popularity of our instrument? Any thoughts? All the best Jaroslaw -- 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
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] Re: Newbie needs to know - where buy a lute and what type?
I can vouch for James Marriage's work - I bought one of his Hans Frei- type lutes three years ago - a really lovely instrument for the cost. He should put his prices up :-) Andrew On 30 Sep 2009, at 12:44, Sauvage Valéry wrote: I can add some names to the list of makers making students lutes Didier Jarny http://www.luths-et-luthier.com/ (1400 Euros) James Marriage http://www.jminstruments.com/studentLutes.aspx (705 £) .. Val -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Recently, the harpsichord list has been castigating itself for its excessive 'macho-ness' and lack of female participants. Also - I've been thinking how early music email lists take on the characteristics of the instrument they discuss - like dogs and their owners resembling each other. The clavichord list is as you would expect - quiet, polite, strictly on-topic. The harpsichord list is the most plangent - sometimes strident. I'd say this lute list has the widest dynamic range. I wonder what the Serpent list is like... Andrew On 10 Sep 2009, at 14:50, Craig Robert Pierpont wrote: The Harp lists are almost the opposite. Craig Craig R. Pierpont Another Era Lutherie www.anotherera.com --- On Thu, 9/10/09, Peter Martin peter.l...@gmail.com wrote: Of the last 100 individuals to post to this list, 95 were men. Is this representative of the wider lute world? Any ideas why? Peter To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hans NeusiedleRe: Ein Newgeordent Kuenstlich Lautenbuch
lovely! thanks On 24 Aug 2009, at 00:04, Matteo Turri wrote: The Bavarian State Library provides a number of digitizations of sheet music from its music department. I still didn't have the time to browse them, but I noticed this: Neusidler, Hans: Ein Newgeordent Kuenstlich Lautenbuch [...] Nürnberg, 1536 here: http://daten.digitale-sammlungen.de/~db/0004/bsb00041542/images/ Can be also downloaded in pdf. M. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Lessons on YouTube
On 16 Aug 2009, at 13:05, Ed Durbrow wrote: Or imagine you are looking in a mirror. while reading Italian tablature... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Traveling with lute
Let's be discouraged: 'Although aviation is a relatively small industry, it has a disproportionately large impact on the climate system. It presently accounts for 4-9% of the total climate change impact of human activity.' suzuki.org/Climate_Change/What_You_Can_Do/air_travel.asp On 11 Aug 2009, at 15:03, nedma...@aol.com wrote: Thanks again, all, for your ideas on this topic. I'm encouraged to think that safe air travel with a lute is at least possible. And thanks for those photos, Bill. CaseXtreme looks like a viable alternative. Ned To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Well Tempered iphone app
Has anyone tried this iPhone app? http://niklas.saers.com/Well_Tempered.html No custom temperaments yet - but apparently planned for a future update. I could do without the ye olde scroll. Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: where to find the music
Hello Nancy - the Susanne van Soldt manuscript is a collection of late renaissance keyboard music - hence it's often called the Susanne van Soldt Virginal book. I think the story is that Susanne van Soldt was the daughter of a Dutch merchant living in London in the late 16th century. I've never seen the whole set but it's apparently a mix of music from the Netherlands and England. The three pieces I've seen are fairly simple dances. Alan Curtis edited the modern edition that came out in the 60s - I've been trying without success to get my hands on a reasonably priced copy. Andrew On 26 Jun 2009, at 23:59, Nancy Carlin wrote: I have just gotten the Les Witches CD Manuscrit Susanne van Soldt and it's really nice - interesting arrangements and nice cittern and lute solos. I had not heard of this manuscript before (BM Add 29385) and wonder if there is a facsmilie or modern edition of it. The first piece on the CD Brande Champanje would make a really nice piece on the lute. Does anyone know anything about this manuscript on that piece? Nancy -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute for Sale
It would be better to list it as an 8 course lute (7 double courses and a single course). Andrew On 3 Jun 2009, at 14:18, Alan Barnosky wrote: Hello Everyone, After much hesitation, I am finally selling my Renaissance lute. It was a custom build by a very good local luthier, there is a page up on ebay if you are interested. I believe the link below should work, if not do an ebay search for 15-course Renaissance Lute. You can also do a search for the bid number, 360159985195. If you know somebody who is interested, please pass this along. It is a very nice instrument that needs to be in hands of someone that want to use it. The link: [1]http://cgi.ebay.com/15-course-Renaissance-Lute-with- case_W0QQcmdZVie wItemQQ_trkparmsZ72Q3a570Q7c66Q3a2Q7c65Q3a12Q7c39Q3a1Q7c240Q3a1318Q7c3 0 1Q3a0Q7c293Q3a1Q7c294Q3a50QQ_trksidZp3286Q2ec0Q2em14QQhashZitem53db353 e 2bQQitemZ360159985195QQptZLHQ5fDefaultDomainQ5f0QQsalenotsupported Thanks, please let me know if you have any questions. ARB -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute and recorder duo scores
I think it's unlikely that William Croft wrote for the lute. Croft did publish (composed with 'An Italian Gentleman' - who I think was in fact the non-Italian Gottfried Finger) a set of sonatas for flute and continuo. A modern edition of these was published a few years ago (can't remember who edited/published I'm afraid). I haven't heard Jakob Lindberg and Clas Pehrsson's recording but I'd guess they adapted these flute sonatas... Andrew On 8 May 2009, at 13:37, Nicolás Valencia wrote: There's an interesting recording by Jakob Lindberg and Clas Pehrsson from 1984 called Italian and English Music for Recorder and Lute. They clearly adapted some pieces for other instruments (Selma y Salaverde, Castello, Montalbano), but they also play some preludes and grounds as well as sonatas (Parcham, Croft, Finger) apparently written for recorder with lute accompaniment. I was wondering if this kind of music was available in score somewhere. Regards, Nicolás -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: LSA Quarterly 1.2009 received?
I received the latest two issues last week (in London). Which makes me feel guilty as I'm sure I'm not up-to-date with my dues - I must contact the LSA... Andrew On 5 May 2009, at 10:12, Luca Manassero wrote: Nop! I grew kind of tired to always wait months (literally) to finally receive my LSA Quarterlies. Still waiting for 4/2008 :-( Luca To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Etymology catgut
Yet another theory - this one involving Welsh Troubadours (eh?) - from Babolat - a French company that still makes gut-strung tennis racquets: '...in the Middle Ages Welsh Troubadours played an instrument that sounded like a cat meowing. The English called this instrument a cat and its string was called cat gut. When natural gut strings made their way into tennis racquets the 'cat gut' name stuck. So even though natural gut tennis string is at times referred to as catgut, cats never were a source for racquet strings.' Andrew On 2 Apr 2009, at 13:24, Anthony Hind wrote: Or that French people knowing the English pronunciation cat-gut, jokingly played on this changing Kaet to chat to mock the sound often produced by bad musicians. Regards Anthony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Etymology catgut
wikipedia says this about the origin of the term cat gut: Etymology The word catgut may have originated from the word kitgut, or kitstring, the word kit meaning fiddle. It is thought to have been confused at some point with the word kitty for little cat. I've heard other theories. On 1 Apr 2009, at 12:36, Anthony Hind wrote: Alexander Do you have the page? One would suppose that the first was sheep gut, but I would like to look at that more closely. The problem is whether a confusion had already crept in about cat, at the time of Burwell. The author may have been translating the French expression boyau de chat, in which case we are no closer to knowing what the origin was. If sheep is actually written as ship then the person who wrote it down could have been effected somehow by French. We all know that many French speakers, make no difference between sheep and ship, but without looking at the text it is hard to guess. Anthony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Accompanying Ortiz's Recercadas sobre un canto llano
Thanks - lovely - and thanks for the introduction to the ArsAntigua website. Andrew On 23 Mar 2009, at 22:42, Jeff wrote: I recently recorded one of Ortiz's pieces for a podcast--violone soloist, virginal and bass lute accompany (not theorbo, as the intro says.) Simple chords, occasional filler--let the soloist shine; in most of these pieces, he/she has so much going on, you really do not want to add too much more to the mix. I've also played some of his more complex divisions on contrapuntal vocal works on a G lute. That can be tricky since the lute needs to cover the 3-4 voices of the song while the soloist noodles above and below. Anyway, podcast of one Ortiz piece at arsantiguapresents.com I think it is last month's podcast. jeff -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Download Gerwig Recordings
And he was into house music. Respect. '...In courses and lectures he also gave suggestions for a sustained renewal of house music.' On 16 Mar 2009, at 11:20, Roman Turovsky wrote: Here a photo of him with a Dutch-type: http://www.bach-cantatas.com/Bio/Gerwig-Walter.htm So the 10c myth could be put to rest. RT -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Transposed Dowland songs??
On the subject of lutenists accommodating (or not) singers: Is there any evidence of what temperament the lutenist and singer - I'm thinking mainly of late 16th c lute songs - would have agreed on? Would the lutenist tune to get close to the temperament the singer had trained to sing in (just intonation?) - or would the singer helpfully adjust to suit the tending-towards-ET lute accompaniment? Or does it just work with voice and lute in different temperaments? I've never been clear about this... Andrew On 15 Feb 2009, at 07:52, David Tayler wrote: Dowland transposed all the time--except he put the music into a MORE difficult key. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: LUTE CDs Serdoura's Baricades + Lindberg Dowland
Anthony - what does this mean? Are CDs priced by the note now? Andrew On 23 Jan 2009, at 11:53, Anthony Hind wrote: I wonder whether the cheap Brilliant version is up to the original Bis standard. I suppose they will have cut the cost, by reducing notes, etc. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: emblems
lovely resource - thanks for posting On 16 Jan 2009, at 11:27, Bernd Haegemann wrote: http://emblems.let.uu.nl/browse.html?idHCC7323 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? LH OT
or facetiously if you're from the sometimes Y shool of thought? or is Y a semi-vowel? Some people regard W as sometimes representing a semi- vowel... On 12 Jan 2009, at 13:51, Sean Smith wrote: Ok, facetious again. [which is the only word in English where all the vowells are in alphabetical order. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute spotting...
Doh! I think Whisper of the Heart was released in 1998, I got around to watching the DVD last night. I should have guessed that in the intervening decade someone on this list would have beaten me to the spotting. All prize monies to Peter Hoar. On 7 Dec 2008, at 10:29, G. Crona wrote: Recycling Andrew? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute spotting...
Thanks Steve - I guess the curve was another clue I should have noticed. On my crappy TV I can't really hear if the instruments on the soundtrack are the ones shown in the animation - I'd like to think so... On 7 Dec 2008, at 02:54, Steve Ramey wrote: ...the instrument that follows the tambourine is variously known as a cornett, cornetto, or krummer zink. It has a tiny, trumpet-like mouthpiece, not the double reed a shawm would have. It has holes like a recorder and is often played off to one side of the player's embochure, just as the animation shows. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute spotting...
..in 'Whisper of the heart' - an animated film by the wonderful Studio Ghibli (directed by Hayao Miyazaki's protege Yoshifumi Kondo). (Plot summary: teenage girl who dreams of becoming a writer meets teenage boy who dreams of becoming a luthier - they fall in love!) A 6 course lute appears - along with a violin, gamba, tambourine, shawm and recorder - in a scene where characters improvise an accompaniment to John Denver's 'Take Me Home Country Roads'. Like everything, it's on youtube: http://www.youtube.com/watch?v=bIX4Blu1sHw But definitely worth seeing the whole film. Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Another one....
Nice - very much enjoyed that. On 18 Nov 2008, at 02:17, Daniel Winheld wrote: Speaking of Online luters-- I couldn't help it, recorded posted another one- [1]http://vimeo.com/2271297 Wonderful synchronicity, these threads and the recent video postings. Improved lighting on this one, change of instrument technique for reasons stated on the Vimeo site. The touch needs a little sanding buffing. Apologies for bad facial attitude (hostile scowling at the end) Dan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperaments, the second night
Hello Martyn Without much hope of convincing you, I'd argue that this is a question of tolerance - I mean tolerance as in the gap between the perfect ideal and what is realised. If I attempt to set up a lute in some chosen shade of meantone, I know it can only be an approximation because the frets won't allow me to get every note in every position 'right'. In description it sounds poor, in practice I've heard it work wonderfully - which is why I'm trying it myself (so far with mixed results but it's early days). A nice quote from August Magnan (the entomologist who calculated that bumble bees are incapable of flight): 'One shouldn't be surprised that the results of the calculations don't square with reality.' Andrew Currently grappling with a lovely Diomedes Fuga (from the latest UK Lute Society music supplement) in glorious, historically-informed ET On 8 Nov 2008, at 09:48, Martyn Hodgson wrote: From: Martyn Hodgson [EMAIL PROTECTED] Subject: Re: [LUTE] Re: Temperaments, the second night To: Andrew Gibbs [EMAIL PROTECTED] Date: Saturday, 8 November, 2008, 9:44 AM It only very roughly looks like 1/6 comma if you take a single string in isolation. If you carry out the calculations for each fret across ALL the strings no such pattern emerges which is possible with a straight fret.. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperaments, the second night
He doesn't, of course - the terminology - and the mathematical analysis - weren't worked out until much later. But his instructions for tuning/fret placement result in 1/6 comma meantone tuning. More or less... In his day, was he out-numbered by ET tuning lutenists? My basic understanding is that's probably the case. On 7 Nov 2008, at 13:20, Martyn Hodgson wrote: Where does Gerle mention '1/6 comma meantone'? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperaments, the second night
Hans Gerle was in denial? Perhaps this explains the feelings of frustration and inner sadness found in some of his music (that he played quite happily in 1/6 comma meantone). On 7 Nov 2008, at 09:09, Martyn Hodgson wrote: ... Catch also, and amusingly, points out the denial in the face of evidence and mathematical analysis by advocates of such a 'meantone' on the lute. MH -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The enigma of Marquesa di Sala
On 20 Oct 2008, at 15:05, David van Ooijen wrote: - the transcription made by Koichi Arakawa in his 'the Collected Lute Music of Santino Garsi da Parma (The Lute Society of Nagoya, 1981) Hello David - do you know if it's possible to buy this anywhere (Collected Lute Music of Santino Garsi da Parma)? Just did a quick google and can't find it - or the The Lute Society of Nagoya... Many thanks if you can help Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperament wondering...
You're right - it's not a circular process if the fretting system has been worked out properly. As I said, I've been using David van Ooijen's instructions for tuning in 1/6 comma and it's a straight- forward process. But I was referring to the historical instructions found on the LSA Fret Placement Chart, which (no disrespect to the Ancients) haven't been passed down to us 100% accurately. So there's some to-ing and fro-ing between frets and open strings to figure out that Gerle, for instance, was aiming at approx. 1/6 comma. Obviously, having established this, I don't need to repeat the process - I can just tune straight to 1/6 comma... On 3 Oct 2008, at 23:39, Sam Chapman wrote: In any tempered fretting system that's been worked out properly you need to first set the frets, then tune the strings to each other in perfect octaves or unisons, since these intervals must be pure in all schemes. If this doesn't work and your lute sounds out of tune, then the fret placement has been wrongly calculated. There should be no need for a circular process (unless you're interested in inventing a new temperament by trial and error). -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperament wondering...
The LSA file works on my mac - but I found those historical instructions for placing frets weren't really that useful - I think some are inaccurate (Dowland's doesn't seem to make much sense). And there's no instructions on how to tune the open strings - so if you don't know what temperament you're aiming for, it makes the process a bit circular - tweak the frets, tweak the open strings, tweak the frets etc My basic understanding is that 16th c lute players would have used some kind of meantone - ranging from 1/4 to 1/8 - but of course wouldn't have used that terminology as the fine maths weren't worked out until later when meantone was on the point of becoming obsolete. This is my basic understanding - I'm sure someone on this list will know better/more... Andrew On 3 Oct 2008, at 07:22, Omer katzir wrote: Thanks andrew, but i have a problem with LSA file, i see every thing as 0, beside the english... i used both office 2008 and Neoofice, and it showed me the same thing. might be becuase I'm a mac user... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperament wondering...
That does sound sensible - and ingenious - but from recollection, the measurements given by the LSA chart for Dowland's lute gave a narrow distance between the second and third frets, which didn't sound much like ET to me - and generally didn't seem to produce a pattern of proportionally reduced distances between the frets that I imagine you would get from such a system. Any ideas where I went wrong? Andrew On 3 Oct 2008, at 13:45, William Brohinsky wrote: Actually, Dowland's tuning is quite sensible. The rule of 18 sets a lute (in theory, neglecting string stretch caused by sideways displacement at the finger and fret) to very-nearly equal temperament. Apparently, the stretch added by actually fingering the strings brings it very very close. .. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Temperament wondering...
Hello Omer I've been tackling this issue myself recently. I started by trying some historical instructions for fret placement (found on the The Lute Society of America Fret Placement Spreadsheet): http://www.cs.dartmouth.edu/~lsa/download/index.html I found, after a lot of trial and error, that Gerle's instructions led to more-or-less 1/6 comma, which is more-or-less what I wanted. An easier way of achieving 1/6 comma (and 1/4 comma) is very clearly explained on David Van Ooijen's site: http://home.planet.nl/~ooije006/david/writings/meantone_f.html Andrew On 2 Oct 2008, at 11:00, Omer katzir wrote: i guess any one already have his favorite, and i want to discover my own... sssoo Any recommendation? i want it for my nice little 7c...but i might try something new with my guitar :-D thank you again Omer -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sound
The original lute tutors consistently recommend playing close to the bridge - with the pinkie very close to the bridge - or even on or behind the bridge. Taking into account the possible differences between modern and historical strings, this still seems to indicate 16th c taste (early 16th c at least) was for a much sharper, more pungent sound than most modern lutenists are playing. The close-to- the-bridge sound is certainly surprising - I keep trying it but my hand keeps creeping towards the rose... On 25 Sep 2008, at 02:00, Stephen Fryer wrote: What sort of sound were they trying for in e.g. the 16th century? Do we have any evidence on this? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sound
Yes you're right, sharp and pungent is overstating it - brightness is a good way of putting it. Or perhaps pluckier? as in the old lute- stop-on-harpsichords argument. But to argue against myself there's lots of iconographical evidence for lutenists not playing close to the bridge... On 25 Sep 2008, at 18:57, [EMAIL PROTECTED] wrote: Andrew, I tend to agree with what the tutors recommend. (I don't know if I would use the words sharp or pungent to describe it, however.) There is also such circumstantial evidence as Capirola's advice to set your frets so that they actually buzz against the strings and the description of Francesco playing with thimbles into which were set little quills. Some have suggested that the thimbles/quills idea was just a poetic hyperbole. Possibly. But why would a listener from that time have thought to place such an invention in the hands of Francesco - things that would presumably produce a very, very bright sound - if brightness wasn't a desirable trait in the first place? I get the feeling that for many, playing so far over the rose is a relic of converts to the lute subconciously trying to re-create a warm tonal ideal remembered from their previous days of playing (modern) classical guitar. Personally I like playing fairly close to the bridge - there's more volume and I feel much more control over articulation and shading. You can still warm things up by moving closer to the rose if you want or brighten things by putting your pinky behind the bridge. Chris -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sound
Hello Valery Thomas Mace for sure. I'm fairly sure Marin Mersenne and Mary Burwell. Now I was sure Gerle said something like 'plant the 4th and the 5th finger on the soundboard close to the bridge' - but on checking I find he actually says 'place the little finger and the ringfinger on the soundboard, not on the rose, but a little lower'. Hmm, false memory... Or maybe it was Newsidler who said to put the last finger on the soundboard very close to the bridge - I'll check. So I must re-phrase my statement: The original lute tutors consistently recommend playing close to the bridge... to SOME of the original lute tutors recommend playing close to the bridge... Andrew On 25 Sep 2008, at 19:16, Sauvage Valéry wrote: Could you please name the tutors telling to play so close to the bridge ? and the iconographical evidence (yes there is some but not so much...) And the other evidence (speak with some luthiers) is to try to play the strings in different places and hear where sound is the best (objectively, not just as an idea of your ideal sound) Of couse it depends on the lute, strings and soundboard, but I'm quite sure it is not by playing close to the bridge you get the better objective sound from our instrument. Do you also think people listening to songs like Janequin wrote, Lassus and others, listeining to viols and flûtes, could like buzzing strings on frets ? I'm really not sure of this idea. (I believe Da Milano's silver nails is a poetic hyperbole, so many poetic hyperboles in this time poetry, paintings and writings) My two cents... Valéry To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: tune the tuna
On the advice of several people on this list, I recently bought the Sonic Research ST-122 Strobe Tuner. It works a treat - amazingly accurate - you can use it to set your frets. And you can program custom temperaments. It even picks up very clearly the bass notes on a clavichord - which is something no tuner I've used previously has managed to do... But does it produce sounds? - don't know - I'd have to check when I get home. Here's a link to Sonic Research: http://www.turbo-tuner.com/ They were happy to ship internationally. (BTW Omer - I believe our lutes are related - I got my 7c Hans Frei type from James Marriage shortly after you did.) Andrew On 23 Sep 2008, at 09:28, Omer katzir wrote: I'm still looking for a new shiny tuner, my old one...well, old. long time ago Korg had the OT-12 (i think it was 12) tuner, a nice tuner, memory, all kind of neat stuff. my friend has it and she's using it to tune her viol. now, Korg have only the OT-120, no memory, few presets. but again, no memory. the presets are nice touch to it, but i cant build my own like in the older model and i really don't want to use automatic tuning, i want to hear the sound, like in the old days when i was young and stupid. any way now... i really need a new tuner. so any suggestions for a nice and shiny tuner will be accepted. i also accept lutes, if you want to send me one or two. thank you, Omer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [HG] Judentanz, Anyone?
Hans Neusiedler published a piece called Judentanz in his Ein new künstlich Lautten Buch. The original tablature included some instructions for an unusual tuning, which were ignored when it was transcribed in modern times resulting in some very strange dissonant music. I think this mis-transcription was actually recorded, and some people thought Neusiedler's intention was a cruel parody of the different harmonies of Jewish music. Then in the 1960s, someone correctly transcribed it - I'm afraid I can't remember who. The correct music is a sprightly dance - not authentic Jewish music - but certainly not satirical. The correct French tablature is on Sarge Gerbode's Lute Page: http://www.gerbode.net/ft2/composers/HNewsidler/ I used to have the mis-transcription in French tab as well - it's probably available on the net somewhere... Andrew On 1 Sep 2008, at 13:05, Leonard Williams wrote: I received this request via a hurdy-gurdy list; anyone have answers? Thanks and regards, Leonard Williams -- Forwarded Message From: Martin Lodahl [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] Date: Sun, 31 Aug 2008 16:04:31 -0700 To: [EMAIL PROTECTED] Subject: [HG] Judentanz, Anyone? Can anyone point me to the music for the Judentanz on the La Bamboche album, Quitte Paris? They identify the composer as Neudiedler, but almost certainly meant Neusiedler (Newsidler, in some sources) who did indeed publish a Judentanz (in lute tablature) in 1544, the date given on the album, but what they're playing is really not all that much like Willi Apel's transcription of it. Searching the web has pointed me to a lot of records with the tune on it, but being paper-trained, I'm constantly searching for the notes. Anyone seen them? - Martin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Giacomo Gorzanis' musical circle?
Many thanks Arthur - and everyone elso who helped I've just bought a copy of Issam El-Mallah's edition... Best Andrew On 4 Aug 2008, at 15:58, Arthur Ness wrote: To respond to David's comment, I can add a bit. ... There is a modern edition that most good music libraries will have due to its inclusion in the series of published Munich dissertations: Gorzanis, Giacomo de, 16th cent. Ein Tanzzyklus des 16. Jahrhunderts : fur Laute / von Jacomo Gorzanis, ed. Issam El-Mallah. Tutzing: H. Schneider, c1979. Munchner Editionen zur Musikgeschichte; Bd. 1) Edited from the holograph sic!! Gorzanis was blind, so probably did not copy the manuscript--ajn in the Bayerische Staatsbibliothek (Mus. Mss. 1511a) Tablature and staff notation. ... =AJN (Boston, Mass.)= -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Giacomo Gorzanis' musical circle?
A while ago I came across a reference to a suite of pieces for lute written in the mid 16th c by Giacomo Gorzanis, which I think is a musical circle (in that it progresses through all 24 keys). Does anyone know the title of this suite - and if there is a recording anywhere - or a publisher of the music? Many thanks if anyone can help... Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Web metronome
Yes - in the advance settings you can enter a reference pitch, choose from a range of historical temperaments, select gut or nylon, and give a virtual mensur. It also tunes your lute and pre-stretches any new strings in your cupboard. :-) On 17 Jun 2008, at 14:17, Rob MacKillop wrote: But does it beat at 415 pitch? Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Some new song intabulations
No news is good news? Anyway, I for one, have been enjoying your song intabulations. (I don't suppose you know of an English translation of the Begli occhi words?) And the Kircher Tarantelle intabulations are particularly appreciated - these are strangely addictive... Ta Andrew On 7 Jun 2008, at 23:06, [EMAIL PROTECTED] wrote: http://www.cs.helsinki.fi/u/wikla/mus/own/Intabs/ One Monteverdi added... :) And now a tiny little Frescobaldi :-) Many readers, no comments. So it is. Rule of life? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Frets
Thanks Daniel - this is really interesting because It's something I'm struggling with. I've noticed when attempting Gerle's fret positions that using an electronic tuner to tune the open strings doesn't work - basically because I don't know what temperament I'm trying to tune to. The box has a pre-set 1/6 comma setting but the results definitely don't sound right. So my process is to set the (first 8) frets exactly as Gerle says, then tune the open strings to suit using the box to help set a standard pitch and check some equivalent pitches. Then the frets need a tweak, then the strings need a tweak, and so on. Sounds nice in the end but I'm guessing this isn't the best way to do it. Another thing I don't really understand is why Gerle's (and Dowland's) system doesn't require a tastino. To me, the appeal of Gerle is that I'm really reluctant to use tastini. Looking at your numbers below I can see a 1st fret position that seems quite narrow? - do you use another first fret below that? Any more advice would be much appreciated - though I appreciate it's a big subject... Cheers Andrew On 21 May 2008, at 14:12, Daniel F Heiman wrote: Andrew: This whole thread has been fascinating to me. Sorry I have not had the time to participate earlier. Since I created the spreadsheet, one might logically ask which fret placement system I use. The answer is, none of the above. I have set my frets empirically, according to what sounds good to me. I just measured my 55 cm 7-course, the instrument I play most frequently, and got the following numbers (nearest half mm), with indications in parentheses as to which historical temperament most closely matches that value: 1st, 2.85 cm (Kepler tastino) 2nd, 5.75 (Aron meantone) 3rd, 8.7 (Equal temperament!) 4th, 10.95 (Aron meantone/both Mersenne) 5th, 13.7 (both Mersenne/Werckmeister) 6th, 15.85 (Silbermann 1/6th comma) 7th, 18.1 (Aron meantone) 8th 20.05 (Silbermann 1/6th comma) Keep in mind that the fret placement interacts strongly with how you set the piteh intervals between the strings in determining the frequency generated by any given string/fret combination, so that you cannot just tune each string off an equal-tempered electronic box and expect any historical temperament to sound good. For example, I take a reference pitch for the 6th course and tune the 4th course/2nd fret to an exact octave above that, so the 2nd fret placement determines the 6th/4th course interval. I then tune the 2nd course 3rd fret from the open 4th course (maybe not quite so exactly), so the 6th/2nd course interval is determined by the placement of both the 2nd and 3rd frets. I am kind of out of time, but I will try to continue this evening. Daniel To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Frets
Thanks Sean - that is helpful. I've yet to experiment with tastini. Apart from ET, the only other fret positioning system I use is Gerle's (as given in the handy Excel sheet on the American Lute Society web site). I have to say I'm not sure exactly what this is - some kind of mean-tone other than quarter- comma? or an irregular system like the much later Mersenne and Werckmeister 'well temperaments'? Andrew On 13 May 2008, at 17:46, Sean Smith wrote: Dear Andrew, Yes, theoretically. But meantone's saving grace on the ren lute is that the keys of G, C, and their minors use much of the same keyboard so you don't really have to change any fret positions (mostly white keys on the piano w/ a few Bb's and Cb's). So you're essentially safe in 85% of the music --w/ a few exceptions of course. But. When you move to a key in A or Amin, E and Emin, Fmin and Bbmin, then things start to get wonky (ie, a lot of flats or sharps). Think about that 1st course, 1st fret. If you're playing an Ab on it you're ok for most of the rep. If you need to play a G# that means the fret has to be in the other position (closer to the nut: the tastini position). Same goes for 2nd course, 1st fret: if you're playing an Eb, that's fine usually but if it needs to be a D# you have to put the fret in the tastini position again. I know this is a generalized way of looking at only one small aspect of meanton on the lute. And I don't mean this at all to be applicable to the baroque lute whatsoever. I hope this helps in some small way. Sean On May 13, 2008, at 8:13 AM, Andrew Gibbs wrote: The whole idea of moveable frets allowed relatively easy shifts between temperaments? e.g. mid-concert between a suite of pieces in one key and the next suite in another? Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Frets
The whole idea of moveable frets allowed relatively easy shifts between temperaments? e.g. mid-concert between a suite of pieces in one key and the next suite in another? Andrew On 13 May 2008, at 15:52, guy_and_liz Smith wrote: Not necessarily. When I changed my alto from equal temperament to sixth comma meantone, the frets were fine after the shift. You aren't really moving them all that much for sixth comma. I've never tried quarter comma, so I can't say how that would affect fretting. Guy To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lutes have obscene connotations?
Lutenists might be familiar with a woodcut that appeared in the first collection of keyboard music printed in staff notation (Andrea Antico, Rome 1517). It's a fairly insulting image - to lutenists anyway. The illustration shows a woman (probably meant to represent Music) making a dismissive gesture to a nasty-looking monkey who is holding a lute. With her other hand she is dropping some vocal part- books. At the same time, she's moving towards a handsome gentleman who is at the keyboard of a harpsichord. Generally, this image is understood as being an aggressive claim that keyboard music has become the pre-eminent form of music (a bit rich considering that the music in the collection is dead simple) - while lute music and part songs are old hat. Anyway, I've just come across a different interpretation of the image on the OTTAVIANO PETRVCCI web site: http://home.planet.nl/~teuli049/petrintroduction.html#Harpsichord The interpretation here is that Antico and Petrucci had some dispute over licenses, and Antico has portrayed Petrucci as a monkey and himself as the handsome keyboard player. Then it says this: ''Of course both the monkey and the lute had obscene connotations, a good reason for the civilised lady to contempt both.'' I'm quite interested in this idea that the lute had obscene connotations on the 16th c - something to do with its curvy shape? Does anyone know more? Any pointers to essays, links, etc would be much appreciated... Thanks Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes have obscene connotations?
Thanks Anthony - I believe this mentions the lute being perceived as a microcosm of the human body, often female - but not so far as having obscene connotations - but in the grand tradition of the List, I don't have the book with me... Andrew On 11 Apr 2008, at 12:15, Anthony Hind wrote: I believe there is some discussion of this in Carla Zecher Sounding Objects: Musical Instruments, Poetry, and Art in Renaissance France, University of Toronto Press 2007. Anthony Le 11 avr. 08 =E0 12:23, Andrew Gibbs a ecrit : Lutenists might be familiar with a woodcut that appeared in the first collection of keyboard music printed in staff notation (Andrea Antico, Rome 1517). It's a fairly insulting image - to lutenists anyway. The illustration shows a woman (probably meant to represent Music) making a dismissive gesture to a nasty-looking monkey who is holding a lute. With her other hand she is dropping some vocal part- books. At the same time, she's moving towards a handsome gentleman who is at the keyboard of a harpsichord. Generally, this image is understood as being an aggressive claim that keyboard music has become the pre-eminent form of music (a bit rich considering that the music in the collection is dead simple) - while lute music and part songs are old hat. Anyway, I've just come across a different interpretation of the image on the OTTAVIANO PETRVCCI web site: http://home.planet.nl/~teuli049/petrintroduction.html#Harpsichord The interpretation here is that Antico and Petrucci had some dispute over licenses, and Antico has portrayed Petrucci as a monkey and himself as the handsome keyboard player. Then it says this: ''Of course both the monkey and the lute had obscene connotations, a good reason for the civilised lady to contempt both.'' I'm quite interested in this idea that the lute had obscene connotations on the 16th c - something to do with its curvy shape? Does anyone know more? Any pointers to essays, links, etc would be much appreciated... Thanks Andrew -- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] University Challenge
Yes - I didn't realise that BBC iplayer radio is available worldwide but BBC iplayer TV is UK only. Andrew On 09.04.2008, at 15:11, Gernot Hilger wrote: This programme is UK only... On 09.04.2008, at 11:26, Andrew Gibbs wrote: Congratulations indeed - a very impressive performance - they done us proud... http://tinyurl.com/5laro9 (or if that doesn't work http://www.bbc.co.uk/iplayer/ then choose A to Z / U / University Challenge Episode 4) Andrew On 9 Apr 2008, at 08:54, Tony Chalkley wrote: This is perhaps the moment to congratulate Peter and his fellow team members on their win over a team of engineers on University Challenge last night. Narrow but convincing. Presumably a trip to the Prado was a prize. Tony To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Van Dyck
Congratulations indeed - a very impressive performance - they done us proud... http://tinyurl.com/5laro9 (or if that doesn't work http://www.bbc.co.uk/iplayer/ then choose A to Z / U / University Challenge Episode 4) Andrew On 9 Apr 2008, at 08:54, Tony Chalkley wrote: This is perhaps the moment to congratulate Peter and his fellow team members on their win over a team of engineers on University Challenge last night. Narrow but convincing. Presumably a trip to the Prado was a prize. Tony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Elizabeth Kenny on BBC radio 3
http://tinyurl.com/5sksk (choose Radio 3, then Listen Again, The Early Music Show, Saturday) Inspiring Lutenists: Lucie Skeaping talks to lutenist Elizabeth Kenny about two performers who inspired her - Robert Spencer and Nigel North. With music by Dowland and Bach. Not sure how long it's there for... Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: WG: Charles Mouton lute music EL 082326
Last time I bought a cd from E lucevan le stelle the download didn't work first time - I sent them an email and they emailed back straight away with a new link which did work... Andrew On 28 Mar 2008, at 07:23, Rob MacKillop wrote: I wrote to the company saying that the download failed, and they sent me downloads of the booklet but not the sound files...I've replied asking specifically for the sound files. I've downloaded many mp3s from various sites, with no problem at all. I hope this is a one-off. Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Etymology
Yes, I would like to. I've just checked - The Lute Society are still selling this issue - I'll buy a copy... Andrew On 4 Mar 2008, at 16:43, Charles Browne wrote: It is worth reading his article. -Original Message- From: Andrew Gibbs [mailto:[EMAIL PROTECTED] Sent: 04 March 2008 13:26 To: Charles Browne Cc: Lute Net Subject: Re: [LUTE] Re: Etymology I haven't heard that distinction applied to any other musical instrument... Andrew On 4 Mar 2008, at 13:08, Charles Browne wrote: Ian Harwood (The Lute Vol 37 -1997) argued that only those who compose for the lute can call themselves lutenists and if you only play the instrment you are a lute-player. Charles -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Etymology
The cowl doesn't make the monarchy either - certainly not with our ridiculous royal family. But what's the connection with Dowland? Andrew On 4 Mar 2008, at 13:57, G. Crona wrote: Sorry: I meant monachum G. Cucullus non facit Monarchum Dowland - Original Message - From: Andrew Gibbs [EMAIL PROTECTED] To: Charles Browne [EMAIL PROTECTED] Cc: Lute Net Lute@cs.dartmouth.edu Sent: Tuesday, March 04, 2008 2:25 PM Subject: [LUTE] Re: Etymology I haven't heard that distinction applied to any other musical instrument... Andrew On 4 Mar 2008, at 13:08, Charles Browne wrote: Ian Harwood (The Lute Vol 37 -1997) argued that only those who compose for the lute can call themselves lutenists and if you only play the instrment you are a lute-player. Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
I've been thinking about getting a Zoom H2 - does anyone know how they work with Macs? Thanks Andrew On 29 Feb 2008, at 09:19, wolfgang wiehe wrote: moin valery, very good playing and recording! it seems to me, that we have now a little zoom H2 group here. the quality of the recorded lute sound is amazingly. greetings wolfgang p.s. i used the zoom h2 for our players meeting in hamburg last weekend. in 120° option i recorded voices, lutes, recorders and a krummhorn, very authentic sound! To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Playing in time (olim Polish, anyone?)
I like these quotes. ..but do you think the occasional (and tasteful) spreading of chords is a bad or non-HIP thing? Andrew On 30 Jan 2008, at 17:17, Stewart McCoy wrote: In the last few years, Julian Bream has given master classes at Lute Society meetings in London. He stressed two things: the need to play notes together, (i.e. not to roll and spread chords); and to play in time. He said, I may be old-fashioned, but I like music to be played in time. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [delian] Re: as dark as it gets
Thanks - what I meant to ask was what it means in musical practice. Donnington doesn't mention it, but by googling around I think it means creating a duet by adding a second part to a pre-existing solo piece without altering the pre-existing solo piece. So yes an exchange as the second part is written by a different composer. Apparently a practice popular with French composers in the 17th century. Please let me know if I've got it wrong. Andrew On 4 Jan 2008, at 14:00, Narada wrote: Contrepartie. French word meaning compensation or exchange. N -Original Message- From: Andrew Gibbs [mailto:[EMAIL PROTECTED] Sent: 04 January 2008 13:48 To: Roman Turovsky Cc: Lutelist Subject: [LUTE] Re: [delian] Re: as dark as it gets Lovely - can tell us more about the song? Also - what is the defintion of a contrepartie? Andrew On 4 Jan 2008, at 13:32, Roman Turovsky wrote: Lest we fall into emotional/intellectual complacency, A 6-course intabulation of a song of SeductionAbandonmentInfanticide- http://torban.org/ruthenicae/images/215.pdf http://torban.org/audio/215.mp3 With a contrapartie by a Dutch friend- http://torban.org/audio/215H.mp3 Enjoy RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [delian] Re: as dark as it gets
Lovely - can tell us more about the song? Also - what is the defintion of a contrepartie? Andrew On 4 Jan 2008, at 13:32, Roman Turovsky wrote: Lest we fall into emotional/intellectual complacency, A 6-course intabulation of a song of SeductionAbandonmentInfanticide- http://torban.org/ruthenicae/images/215.pdf http://torban.org/audio/215.mp3 With a contrapartie by a Dutch friend- http://torban.org/audio/215H.mp3 Enjoy RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Finery Filth...
He's going to perform his one man show _Finery and Filth_ at the next Lute Society (UK) meeting on the 19th. Apparently it _contains lyrics not suitable for those of a Puritan disposition_. Sounds like my kind of thing. Andrew On 4 Jan 2008, at 13:37, Ron Fletcher wrote: I was watching local TV-news last night when there was a feature on an Elizabethan period performer from Lincolnshire. He has recently discovered a book of 'bawdy drinking-songs' written by Henry Purcell, a composer we would not readily associate with this type of music. Dante Ferrara is an early-music performer on cittern and hurdy- gurdy, which should be of interest to several readers here. He has just released a CD Bazimakoo. http://www.danteferrara.co.uk/ One page has several video-clips of his performances, which will delight I'm sure. There's even one using an open-strung chitaronne. BTW I had not heard of this guy before. Has he been on this list? Best Wishes Ron (UK) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Wikiality
A helpful description of the lute found on the Wikipedia Renaissance music page: Lute: The lute is simply any plucked instrument without a neck. In the medieval ages it had 4 or 5 Strings and was considered a much more dignified instrument that the guitar. It is similar in its construction to that of the guitar with the exclusion of its neck, and how it is played, as it is played in string singularity instead of strummed. http://en.wikipedia.org/wiki/Renaissance_music I'm inclined to leave it as a nice bit of misinformation. Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Spinacino online
I think I'll be buying that one. E lucevan le stelle Records is a brilliant label - I want to buy everything they've released. And their CD artwork and booklets are the best - have a look at the cover for La Musique Dangereuse: http://www.elucevanlestelle.com/la-musique-dangereuse/ Andrew On 1 Dec 2007, at 09:38, wolfgang wiehe wrote: Dear denys, Do you noticed differences to the minkoff facsimile? By the way: E lucevan le stelle just published their spinacino cd. Greetings Wolfgang w. , member of the 7-c renaissance lute group! My one and only... http://www.elucevanlestelle.com/musicstore/website/it/index.php? section_ name=music_store_item_showarticle_obj_id=416article_category=CD To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Die Wohltemperirte Gitarre
Open strings in 1/6 comma and wiggly frets (Paul Guy chording on Die Wohltemperirte Gitarre): http://truetemperament.com/main.php?go=5lan=1 Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Rauwolf/Munro
I love the photograph of the labels inside the lute - apparently one label is part of the title page of a Hans Newsidler tablature book - not sure which one. Andrew On 15 Nov 2007, at 13:56, Anthony Hind wrote: Dear Lutists For those who read the Lute News N° 83 and saw that David Munro on page 15, announced some colour photos of the Rauwolf during and after restoration on a web site. The address was in fact not exactly the one given, but http://www.pBase.com/rauwolf or http:// tinyurl.com/3awvrz. Regards Anthony To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] [Lute] Gibson robot guitar
From the Harpsichord list (of all places): Gibson is producing a 'robot guitar' - see their site http://www.gibson.com/robotguitar Pull out the Robot Guitar's Master Control Knob (MCK) and watch the Powerhead Tuners spring into action. It takes only a few seconds for the Powerhead Tuners to tune the Robot Guitar to any desired tuning. Each tuning peg is equipped with a tiny but powerful servo motor that kicks into action once the system is activated. The Powerhead Tuners rely on the strings themselves to send the signals. Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Rauwolf/Munro
The date on the label is 1547, so the label is cut from Newsidler's Das Erst Buch - a collection of simple easy-to-play pieces for beginner players (like me). I wonder why it was pasted in the lute as a label - presumably not by Sixtus Rauwolf. I guess from a later makeover. I've just checked the Lute News No. 83 article - the label below the Newsidler cutting would read in full _zu Nurnberg von Leonhard Mausiel repariert-1715_. Michael Lowe (one of the three restorers who worked on this Rauwolf lute) thinks Mausiel may have been responsible for the neck. The label below this would read in full _ repariert Karl S. Patnia, Wien 1881_. Andrew On 15 Nov 2007, at 18:08, Anthony Hind wrote: I think the Rauwolf is about 1590. Hans Neusidler was born in Pressburg (now Bratislava, the capital of Slovakia) ..., sometime around 1508. ... and ... published eight volumes of lute music during the 1530s and 1540s. I don't know when he died, but it doesn't seem likely. Regards Anthony Le 15 nov. 07 =E0 17:30, G. Crona a ecrit : Could this mean that the lute at one time belonged to Father Neusidler? - Original Message - From: Mathias R=F6sel [EMAIL PROTECTED] To: G. Crona [EMAIL PROTECTED] Cc: Anthony Hind [EMAIL PROTECTED]; Andrew Gibbs [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Thursday, November 15, 2007 5:12 PM Subject: [LUTE] Re: Rauwolf/Munro G. Crona [EMAIL PROTECTED] schrieb: It says: Hans Neusidler Lutenhift zu Nurnberg 1547 1.) Hansen Neusidler Lutennist zu Nurnberg MDXLVII 2.) Da Nurnberg ver... reparirt 1715 3.) Reparirt Karl S. Palma (?) Wien 1881. Mathias I love the photograph of the labels inside the lute - apparently one label is part of the title page of a Hans Newsidler tablature book - not sure which one. Andrew On 15 Nov 2007, at 13:56, Anthony Hind wrote: Dear Lutists For those who read the Lute News N=B0 83 and saw that David Munro on page 15, announced some colour photos of the Rauwolf during and after restoration on a web site. The address was in fact not exactly the one given, but http://www.pBase.com/rauwolf or http:// tinyurl.com/3awvrz. Regards Anthony To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Andrew Gibbs Public Works Office 30 Townmead Business Centre William Morris Way London SW6 2SZ Telephone +44 (0)20 7731 9440 Mobile +44 (0)7973 655759 [EMAIL PROTECTED] --
[LUTE] Lute spotting
From the Guardian (UK) 13 October: ..if you want a good laugh at the expense of the early-music movement, there is on YouTube an excellent early film of Arnold Dolmetsch playing the clavichord while Mabel Dolmetsch dances in an early style... The YouTube clip this refers to actually shows Arnold Dolmetsch playing a lute... http://www.youtube.com/watch?v=RDcvJRuBAfI Andrew -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: So...where to find more tabs?
Sarge Gerbode's site was a useful resource - does anyone know why it's disappeared? Andrew On 5 Nov 2007, at 08:25, LGS-Europe wrote: for some songs (campion, dowland etc.) but they the site is not working for the past few days i need to download tab+lyrics to a new project. i really hate computers... How about using your computer to order music? All the Campion and Dowland songbooks are for sale, facsimile as well as modern editions. Lyrics included! ;-) David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Looking for new tuner + computers
Lute players are admirably high-tech. I know early keyboard fanatics who won't use a tuning fork because it wasn't invented until the early 18th century... Incidentally, the invention of the tuning fork is attributed to John Shore who was a lutenist in the Chapel Royal. He called his invention a pitch fork. Andrew On 16 Oct 2007, at 11:06, Charles Browne wrote: I prefer the VSAM at home because the strobe is very clear for tuning. It also has a very loud sound if you want to tune by ear. I keep on dropping the smaller tuners and the rubber boot on the VSAM certainly protects the tuner. I am not so sure about my toes though . The main difficulty about the VSAM is size and weight so it doesnt go in the instrument case easily. The Korg OT12 is very handy. The case is not resistant to my charms and the screen is getting very difficult to read following several disasters. As peg technology improves and geared lute pegs make their appearance perhaps we will have auto-tuning pegs containing nano-motors and wireless receivers that respond to reference signals sent out with the time signals.! Ah well, back to te meter again Charles -Original Message- From: Ed Durbrow [mailto:[EMAIL PROTECTED] Sent: 15 October 2007 21:58 To: Charles Browne; LuteNet list Subject: Re: [LUTE] Re: Looking for new tuner + computers Which tuner did you prefer? On Oct 15, 2007, at 11:00 PM, Charles Browne wrote: I have used the Schaller 'Oyster' for some time with various tuners , inclusing the Korg OT12 and the Peterson VSAM II. Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amps or no amps
42 is the answer to Life, the Universe, and Everything (according to the supercomputer in Douglas Adams' The Hitchhiker's Guide to the Galaxy) - but what's the question... Andrew On 10 Oct 2007, at 19:12, Ron Fletcher wrote: P-p-p-panic? And what is 42? ... 1) The number of previous messages on this thread? 2) A position I should adopt as it grows? 3) A page number in the manual on protection from nuclear fallout? 4) Will I be able to play the lute when it has been removed? Could anyone amplify on this? Ron (UK) -Original Message- From: Guy Smith [mailto:[EMAIL PROTECTED] Sent: Wednesday, October 10, 2007 6:08 PM To: 'Ron Fletcher'; 'lute@cs.dartmouth.edu' Subject: [LUTE] Re: Amps or no amps Two important points: Don't panic. 42 Guy -Original Message- From: Ron Fletcher [mailto:[EMAIL PROTECTED] Sent: Wednesday, October 10, 2007 9:19 AM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: Amps or no amps I must have just missed the previous message and was shocked by this message from Anthony... Well you are closer to the reality than you can possibly imagine. The thing is more than alive, and is growing daily. Could it be considered a target for immediate obliteration. Is this lute related? Is it catching? Can Sarge Gerbode offer any help? This is like having a cucumber pushed into my letter box and hearing someone shout, The Martians are coming!!! Ron (UK) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amps or no Amps
..going off on a tangent as usual: I've been told that Dance of the Washer Women is a popular mistranslation - Welscher Tantz Wascha mesa translates as something like Dance of women from other lands or Dance of foreign women. Not a very good German speaker myself - does anyone know a more accurate translation? Andrew On 7 Oct 2007, at 18:37, Narada wrote: Neusliders ' Dance of the Washer Women 'and Holbornes ' Galliard ' take on a new form. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amps or no Amps
Thanks Mathias - I thought _Dance of women from other lands_ seemed =20 odd... On 8 Oct 2007, at 11:40, Mathias R=F6sel wrote: Andrew Gibbs [EMAIL PROTECTED] schrieb: ..going off on a tangent as usual: I've been told that Dance of the Washer Women is a popular mistranslation - Welscher Tantz Wascha mesa translates as something like Dance of women from other lands or Dance of foreign women. Not a very good German speaker myself - does anyone know a more accurate translation? Welscher Tantz means Italian Dance. Wascha mesa stands for Passemezzo. --=20 Viele Gr=FC=DFe Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amps or no Amps
Is Wallachia where the Romani people originate from? So Welscher Tantz could mean something like Gypsy Dance? It's more romantic than washerwomen anyway... On 8 Oct 2007, at 12:23, Roman Turovsky wrote: Andrew Gibbs [EMAIL PROTECTED] schrieb: ..going off on a tangent as usual: I've been told that Dance of the Washer Women is a popular mistranslation - Welscher Tantz Wascha mesa translates as something like Dance of women from other lands or Dance of foreign women. Not a very good German speaker myself - does anyone know a more accurate translation? Welscher Tantz means Italian Dance. My suspicion it also meant Walachian. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Josquin goes fretless?
Thanks Jim, Dana and Tony - I think we can conclude that consistent =20 spelling is a relatively recent trend. Now I'm going to practice my =20 hiphop fretless bass as instructed by Palestrina (or fiddy ducat as =20 he sometimes called himself)... Andrew On 27 Sep 2007, at 19:45, Tony Chalkley wrote: Dear Dana for the later message, and Andrew for the present one, There were no accents in French in Josquin's days - have a look at =20 some of the prefaces as late as Marin Marais. Pr=E9s means meadows if you =20= want to take it literally, but if we did that too much I'd be responding to =20= someone abrasive and a toothpaste manufacturer according to someone in the =20= future who unearthed this message... Without getting a couple of Old French books off the shelf, I can't =20= be sure, but I think you'll find that the use of z and s is partly arbitrary =20= and partly linked to dialect. I'm not even sure if anyone knows when =20 the final letter stopped being pronounced - some publishers even use a funny =20 z with a little hook at the end - I think David's discovery was more to do =20 with the amusing and perhaps totally appropriate tag (who knows?) that =20 someone has come up with than the likelihood of someone being given that name =20 by their parents and then, quite by chance, knocking out a book about finger exercises for the guitar. BTW I think most of Josquin's manuals =20 for guitar have been lost. This could of course have come to us via a medium. Tony - Original Message - From: Andrew Gibbs [EMAIL PROTECTED] To: Jim Abraham [EMAIL PROTECTED] Cc: LUTE-LIST lute@cs.dartmouth.edu Sent: Thursday, September 27, 2007 7:36 PM Subject: [LUTE] Re: Josquin goes fretless? I'm being pointlessly pedantic but - I've seen Prez and Pr=3DE9s =20 (i.e. =3D20 with an acute accent on the e) but not Pres. Andrew (who should be doing some work) On 27 Sep 2007, at 18:02, Jim Abraham wrote: Certainly Josquin's name was spelled both ways, and probably =3D20 several with several other spellings as well, (especially) during his own =3D20 lifetime, and probably by the man himself. Jim On 9/27/07, Andrew Gibbs [EMAIL PROTECTED] wrote: Pres not Prez - one letter makes a huge difference... On 27 Sep 2007, at 17:11, David van Ooijen wrote: Look what the cat brought home: http://www.sheetmusicplus.com/store/smp_artbrowseresults.html? cart=3D3D339988350830608480style=3D3Dartistartist=3D3DJosquin+Des +Preslc=3D3Drecs:detail-primaryArtist David - puzzled David van Ooijen [EMAIL PROTECTED] 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: Josquin goes fretless?
I'm being pointlessly pedantic but - I've seen Prez and Pr=E9s (i.e. =20 with an acute accent on the e) but not Pres. Andrew (who should be doing some work) On 27 Sep 2007, at 18:02, Jim Abraham wrote: Certainly Josquin's name was spelled both ways, and probably =20 several with several other spellings as well, (especially) during his own =20 lifetime, and probably by the man himself. Jim On 9/27/07, Andrew Gibbs [EMAIL PROTECTED] wrote: Pres not Prez - one letter makes a huge difference... On 27 Sep 2007, at 17:11, David van Ooijen wrote: Look what the cat brought home: http://www.sheetmusicplus.com/store/smp_artbrowseresults.html? cart=3D339988350830608480style=3Dartistartist=3DJosquin+Des +Preslc=3Drecs:detail-primaryArtist David - puzzled David van Ooijen [EMAIL PROTECTED] 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: Lute concert
I agree - quietness should be thought of as one of the lute's key qualities - not an issue to be overcome - as with another famously quiet instrument, the clavichord... Andrew On 25 Sep 2007, at 10:11, Francesco Tribioli wrote: Even recordings that are unprocessed are processed (unbeknownst by the original engineer) by goofballs at the pressing plant who don't know how the machines work. This is the big problem... people are used to listen to edited recording and are not aware of this. So when they attend a concert and hear to the real thing, they are disconcerted and disappointed. The same holds for harpsichord concerts. Almost all the recordings has the harpsichord boosted up to the level of a gran coda piano while in the reality it's very soft and melting into the string orchestra, especially if the concert is done in a huge theater 4-5 times larger then what the instrument was built to effectively work into. Aren't we supposed to be the *paladins* of HIP (no flame war please 8^)) why many of the people that actually do recordings accept the lute is boosted up, giving a false idea to the listeners of what the instrument realy is? Francesco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] half falls and backfalls
Just got around to playing some pieces from Stewart McCoy's Osborn fb7 facsimile - which is lovely - a great facsimile edition. There's a lot of indicated ornamentation - can anyone tell me - is a backfall the same thing as a half fall - or if not what is it? Any advice from the lute list gratefully received as always... Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
