It seems to me that several different questions are being raised =20
about the loading process and dyeing processes at the same time. One =20
of these can be answered fairly easily:
Q Is the material used for loading strings metal filings, as Damian =20
has mentioned?
- Well, I suppose it
I see these messages finally came through, but with that dreaded =20
attatched.
Please just read the message which arrived first, with the same
answers, but without the garble.
Anthony
Le 6 juin 08 à 17:57, Anthony Hind a écrit :
This message did not seem to have been sent to the list
Damian
I deliberately changed the heading, from 12c lutes to [dyeing and
loading] to show that the topic had left the precise area of the 12c
lute raised by Matthias, and to which I contributed also.
However, the 12c lute developed in a context to accommodate a certain
type of string, and
a trade
still exists, although it is very much endangered by synthetic strings.
It could be interesting to see the string types they use.
Regards
Anthony
DD
From: Anthony Hind [EMAIL PROTECTED]
To: damian dlugolecki [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, June 04, 2008 4:12
string, including trebles.
There might be all sorts of reasons for colouring strings.
Martin
Anthony Hind wrote:
Please visit my web site at www.damianstrings.com
- Original Message - From: damian dlugolecki
[EMAIL PROTECTED]
To: Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, June
to see the string types they use.
Regards
Anthony
DD
From: Anthony Hind [EMAIL PROTECTED]
To: damian dlugolecki [EMAIL PROTECTED];
lute@cs.dartmouth.edu
Sent: Wednesday, June 04, 2008 4:12 PM
Subject: Re: [LUTE] Fw: [LUTE] Re: [LUTE] Re: Double headed 12c/
loaded/Demi
Le 4 juin 08 à 10:40, Martin Shepherd a écrit :
Dear All,
Dowland (VLL, 1610, sig.Dv.) says:
Some strings there are which are coloured, out of which choose the
lightest colours, viz. among the Greene choose the Sea-water, of
Red the Carnation, and of Blew the Watchet.
At this point he
Please visit my web site at www.damianstrings.com
- Original Message - From: damian dlugolecki
[EMAIL PROTECTED]
To: Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, June 04, 2008 1:01 PM
Subject: Re: [LUTE] Re: [LUTE] Re: Double headed 12c/loaded/Demi-filé
I had forgotten about
Le 4 juin 08 à 22:47, damian dlugolecki a écrit :
Please visit my web site at www.damianstrings.com
- Original Message - From: damian dlugolecki
[EMAIL PROTECTED]
To: Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, June 04, 2008 1:01 PM
Subject: Re: [LUTE] Re: [LUTE] Re: Double
[EMAIL PROTECTED]
To: Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, June 04, 2008 1:01 PM
Subject: Re: [LUTE] Re: [LUTE] Re: Double headed 12c/loaded/Demi-filé
I had forgotten about the Dowland quote which indicates that
'some' strings, not 'all kinds' as Martin infers
were colored. Since
Le 3 juin 08 à 16:32, howard posner a écrit :
On Jun 3, 2008, at 6:24 AM, [EMAIL PROTECTED] wrote:
the lute
player on the cover of Hoppy's 'Vieux Gaultier' CD
(who's the artist?) plays an instument with the first
and second courses red but also the BASS string only
of the 7th course. All the
and
early instructions, to have been much more usual from the early
17thC when extra courses were being added to lutes.
MH
--- On Mon, 2/6/08, Anthony Hind [EMAIL PROTECTED] wrote:
From: Anthony Hind [EMAIL PROTECTED]
Subject: [LUTE] Re: [LUTE] Re: Double headed 12c/loaded/Demi-filé
Ed
This topic is raised form time to time on the list. Here is the last
thread:
http://www.mail-archive.com/lute@cs.dartmouth.edu/msg17862.html
I think we are gradually getting there.
Anthony
Le 1 juin 08 =E0 02:45, Ed Durbrow a ecrit :
On May 31, 2008, at 6:25 AM, [EMAIL PROTECTED]
Dear Rob, John and Martin
Martin Shepherd says The music often suggests octaves when a
cadence is resolved at the wrong octave, or a scale passage jumps
octave for no apparent reason,
or a note which is needed for correct voice leading or point of
imitation is apparently missing but
at the wrong octave, so one can't be
too categorical about assuming a particular tuning on the basis of
a particular piece of tablature. I do find it highly suggestive,
though.
Best wishes,
Martin
Anthony Hind wrote:
Dear Rob, John and Martin
Martin Shepherd says The music often suggests
Le 22 mai 08 =E0 00:09, David van Ooijen a ecrit :
Anthony wrote:
there seems to be no easy way out.
I hope you understand that I am crying out for help over this issue.
If you don't hear it, there's no use doing it. Then stay with ET.
But if you want to learn to hear it, you have to
David
Mace tells us that single frets are better, but then only precedes
to tell us how to make double frets. I asked Stephen Gottlieb about
this, and he told me he thought the practice was quite usual, and he
was happy to try it.
He predicts the sound to be slightly softer with gut. It is
as you get higher up the fingerboard.
I hope this helps.
Best wishes,
Martin
Anthony Hind wrote:
Daniel
This is all very interesting, but I admit that I was hoping to
be able to set-up my lute in some sort of meantone, avoiding too
much fiddling about, by using a preprogrammed Turbo
14:06, Ed Durbrow a écrit :
On May 22, 2008, at 5:24 PM, Anthony Hind wrote:
Indeed, at one time my student lute
was set up by Mathias Durvie with slight grooving to allow the player
to slide the frets from eq to one form of meantone (no tastini or
double frets however). I could easily hear
Rob
I think you are almost bound to be right. There must have been
overlap, (I seem to remember Martin giving arguments for the state of
affairs you are describing). Indeed, going in the opposite direction
(from 7c to 8 or 9c), I am using unisons on the 5th, on my 7c, while
according to
Daniel
This is all very interesting, but I admit that I was hoping to be
able to set-up my lute in some sort of meantone, avoiding too much
fiddling about, by using a preprogrammed Turbo tuner. David v O., in
a recent posting, does seem to consider that it is possible to use
this
Martyn
That was indeed the sort of argument I was looking for, but was not
capapble of putting forward. Let us now agree for the moment that
your interpretation of Dowland's words is correct. It seems to me
that further question ensue (I appologize in advance I I have got
this
1 mm, thus lowering the soundboard and the action. It worked
beautifully and the lute has perfect action now.
Sterling
- Original Message
From: Tony Chalkley [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu; Anthony Hind [EMAIL PROTECTED]
Sent: Wednesday, May 14, 2008 10:08:05 AM
Subject
of
the string to the fingerboard (ie how far the string needs to be
depressed). With thin upper frets (as Dowland seems to suggest)
this distance can be very low at the 8/9th fret so enabling the
lute to be set 'fine'.
MH
--- On Mon, 12/5/08, Anthony Hind [EMAIL PROTECTED] wrote:
From
If I understand correctly, there are two ways of having double frets:
1) just by double looping a single fret, as explained by Mace, and
described, here, by David van Edwards,
http://www.vanedwards.co.uk/fretknot.htm
2) by tying two separate frets.
In this second case, Ed uses a slightly
as it is,
while wondering just what improvement could be obtained by making
such a change.
Anthony
Le 14 mai 08 =E0 10:50, Anthony Hind a ecrit :
I shouldn't say be capable, but rather be willing. No lute
maker has ever offered to set up my lutes with double fretting.
Having just looked at Van
--- On Wed, 14/5/08, Anthony Hind [EMAIL PROTECTED] wrote:
From: Anthony Hind [EMAIL PROTECTED]
Subject: [LUTE] Re: Frets
To: lute@cs.dartmouth.edu Net lute@cs.dartmouth.edu
Date: Wednesday, 14 May, 2008, 10:38 AM
Oh I have just seen from their sites that several lute
makers do
offer both single
Le 14 mai 08 à 18:00, Ron Andrico a écrit :
To All:
This is an interesting discussion about frets, double or single. I
think there is no reason to doubt Dowland's recommendations for
fret sizes (fourth string for the first fret). Is is possible to
infer that his guidelines indicate
Tony
I did not even look at my lute (although I did begin to eye my
antique plane http://fr.wikipedia.org/wiki/Image:Hoevl.jpg)
I was simply considering the fret gut diameters suggested by Martyn
and those on my lute (which are close to those Lundberg's average).
As Martyn seemed to be
Tony
I did not even look at my lute (although I did begin to eye my
antique plane), I was simply considering the fret gut diameters
suggested by Martyn and those on my lute (which are close to those
Lundberg's average).
As Martyn seemed to be saying, smaller upper frets should allow
is that the
fingerboard is thin, and the joint is fairly solid.
Tony
- Original Message - From: Anthony Hind
[EMAIL PROTECTED]
To: Tony Chalkley [EMAIL PROTECTED];
lute@cs.dartmouth.edu
Sent: Wednesday, May 14, 2008 7:39 PM
Subject: Re: [LUTE] Re: Fret diameters, a geometrical approach
Le 14 mai 08 à 21:01, Anthony Hind a écrit :
Tony
I believe that most lute makers fix the neck to the body,
and only when it is has taken up its final position once the glue
is dried, do they add the fingerboard. I suppose they can then
alter the result either by planing part
Le 11 mai 08 à 18:58, Sean Smith a écrit :
Careful about getting them TOO snug. Then it actually flattens on
the outer string. Not so much a problem on the bass strings but
that treble will buzz and undermine your calculations. So then I
switched to a larger fret and then by the time
Lundberg in his Historical Lute Construction says the following.
The eight frets on a Renaissance lute are generally arranged so that
they descend in diameter towards the body. I would typically use the
following diameters:
Fret 1 1.00mm
Fret 2 0.90mm
Fret 3- 0.85mm
Fret 4 0,82mm
Fret
No, it seems to be a new one, as there is a new critical review of
it, in the French lute society magazine.
The review is very positive.
Anthony
Le 9 mai 08 à 15:06, Edward Martin a écrit :
I noticed on Amazon what appears to be a new lute recording by Jakob
Lindberg, Silvius Leopold Weiss:
Martin
I am just back from a trip to England, and I am very pleased to see
and hear the new piece of the month along with the tab, as usual so
sensitiviely played; and giving me the desire to attempt to play it
myself.
Best regards
Anthony
Le 29 avr. 08 à 15:00, Martin Shepherd a écrit :
again.
Best wishes to all
Anthony
Le 19 avr. 08 à 02:21, wayne cripps a écrit :
Hi Anthony -
The article s long, and a series f jpegs, but this covers Susato's
birth..
Wayne
dtc.20.tif.gifdtc.21.tif.gifdtc.22.tif.gifdtc.
23.tif.gifdtc.24.tif.gif
On Apr 18, 2008, at 7:17 PM, Anthony
should be
cautious in using this material.
P
On 19/04/2008, Anthony Hind [EMAIL PROTECTED] wrote:
Thanks Wayne for your help which seems to have clarified the
issue. I am
sure this article would be of interest to Stephen K. also.
David, there seems to have been much scholarly discussion
Stephen
It is a quabtity of money as shown here, one thousand ducats.
http://books.google.fr/books?id=dwkMYAAJpg=PA144dq=mille+ducas
but perhaps you are not asking this but for the musical origin.
ducat |=CB=88d=C9'k=C9't|
noun
1 a gold coin formerly current in most European
In fact there is a round, mille ducas dans vostre bourse, a
thousand ducats in your purse.
Susato, Tielman (c.1500-c.1561): Dances from Danserye (1551),Pavane,
Gaillarde, et Ronde Mille ducas
or Tielman SUSATO (1500-1564)
La Bataille; Suite deDanses Mille Ducas; Basses Dances
One of
to the lute cause than a couple of
inaccurate
remarks by a well-intentioned non-specialist reporter.
P
On 18/04/2008, Anthony Hind [EMAIL PROTECTED] wrote:
In fact there is a round, mille ducas dans vostre bourse, a
thousand ducats in your purse.
Susato, Tielman (c.1500-c.1561): Dances from
Le 19 avr. 08 =E0 00:50, LGS-Europe a ecrit :
Susato was born in Cologne
I read he was born is Soest (The Netherlands), hence his name.
David you may well be correct, but I saw this.
JSTOR: New Documents on the Life of Tielman Susato, Sixteenth ...
http://www.jstor.org/pss/3687153
New
Does any body know whether Daniel Heartz' Preludes, chansons and
dances for lute, published by Pierre ATTAINGNANT contains both the
tablature and analysis of this music, or specifically the analyses.
Anthony
To get on or off this list see list information at
as I remember he said, there is another
Fantasie bei Neusidler that's about 15 mins.
Another good candidat for long distance lute playing is probably
Albert de Rippe: Fantasie IV (about 10 mins)
Any one bidding more?
we
Anthony Hind schrieb:
Rob
Those are the longest ones
Rob
Those are the longest ones on Jacob's Bakfark Black cow, but they
are short compared to the ones you are speaking, two over 6, and two
over 4 and a bit.
over 8
http://www.magnatune.com/artists/albums/heringman-blackcow/12.m3u
Over 6
Oups, I sent this to the wrong list, sorry. I am not trying to give
you French lessons.
Anthony
Le 14 avr. 08 à 16:13, Anthony Hind a écrit :
Chers luthistes
Je vous signale que le numero 50 du magazine Goldberg vient de
para=EEtre, presque enti=E8rement dedie au luth, avec un article
Rob and all
A lutist visiting Stephen Gottlieb's atelier told me that the new
12c for Paul Beier had a fantastic sound and was beautifully
comfortable into the bargain.
Perhaps, I might swap my idea of a future 10c, for one of those.
Although, I know, from what you have said, there are
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 à 12:23, Andrew Gibbs a écrit :
Lutenists might be familiar with a woodcut that appeared in the
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
Dear Lutists
Over the last six months or so, I have been following very closely
Mimmo Peruffo's research on gut strings, and in particular everything
related to his new-old loaded strings. I have always been interested
in research methods and reconstruction, and Mimmo's method of
Dear Doc
You will no doubt know the article in Lute News No 80 12/2006 p.6-8,
by Matthew Wadsworth, on exactly this subject. I really believed I
was totally incapable of memorizing, but after reading this issue I
felt I had to give it a go, and I was quite surprised to find I could
just
Rob
Sorry, I can't quite leave-off, you got me thinking too much. Of
course, like everyone else, I can't help thinking about what lute I
would like next, but also, how I wish I was a little more focussed
and less dilettante (imore in the French use of this word (i.e. going
where
If you did this with a 67cm lute you would probably be tuning the
top string to f' in the old tuning so in the new tuning it would be
d' flat, a very low pitch for this string length.
Anthony Hind wrote:
However, I was mainly thinking about your decision not to change
to TI, and I wonder
Jean-Marie and Ed,
No derogatory remarks have come from me on the 8c. Again, I would
just like to say that if someone is hoping to play Francesco and
Dowland on the same lute, then 7c is surely the better choice, with
the 7c in D, that covers much 8c music with the possibility of
Yes and often using wire-wounds, However, Jacob Heringman, if we
begin naming names, specializes in this repertoire.
Anhtony
Le 3 avr. 08 à 15:54, Nigel Solomon a écrit :
Anthony Hind wrote:
Jean-Marie and Ed,
No derogatory remarks have come from me on the 8c. Again, I
would just
I think we can agree on that, but probably not my Bank manager, who
really turns out to be my good lady wife ...
I am having trouble persuading her that a 10c might be an absolute
necessity, without which life would become utter gloom and doom.
And as you say, a compromise is always that,
David
You forgot two of my favourite whiskies, Bruichladdich and Clynelish.
A friend of mine found a very ancient Bruichladdich at Edinburgh
University Celtic association, and was bringing it back to Paris,
when at the exit of a tube gate, he found a person in a wheel chair
who
Rob
Although this is slightly at a side issue to your question, it could
nevertheless be helpful; I asked Jacob Heringman whether a Gerle or
Venere 7c could be used to cover some Italian and later Elizabethan
music, I wondered whether the smaller number of ribs of the Bologna
style Gerle
Rob ( and Ed) and all
Although this is slightly a side issue to your question, this
could nevertheless be helpful; I asked Jacob Heringman whether a
Gerle or Venere 7c could be used to cover some Italian and later
Elizabethan music, I wondered whether the smaller number of ribs of
Rob
That is the second time a message has shot forth without me clicking
on the send button. I don't know what is up.
I had begun to say .
I entirely agree with you. The 8c is not a good solution. I am just
wondering whether, if you wanted more Dowland than Franceso, a 9/10 c
lute might
Benjamin and Rob
Oups, sorry Benjamin, I am afraid I got part of that wrong. I think
this confusion came from what Martin Haycock said to me about using
such a lute as a G lute at 440Hz. He was obviously talking in general.
You may also have called it a G lute, but G at 392 presumably.
Jean-Marie
Rob was wanting to find a compromise that would allow him to play 6c
italian Renaissance music as well as late Dowland. A 7c can manage
that repertoire, but I think the extra course of an 8c would give too
confused a sound for 6c music.
Just as Rob is doing now, I was
Do they perhaps also sell CDs? Or does Franco Pavan have the right to
sell them himself under the CD format.
Personally, I have rarely downloaded music for fear of saturating my
computer.
Often, the performer has a right to sell directly. I have certainly
bought CDs directly from certain
David
The Seicento edition seems to come in 6 volumes, but at about 25 Euro
the volume does not seem all that cheap (Unless you only have a
specific set of Fantasies that you want) compared to what Luca paid
for the Ness on ebay.
At US $102.50 (considering the rate of the Euro
Dear gut users
I have just had a top string go after 13 weeks (from just before
Christmas) on my 60 cm 440Hz lute. It lasted a little more than 3
months (it broke today).
This was a Kathedrale by Nick Baldock. The string did not fray, it
just seemed a little thin this morning, otherwise it
Wolgang
I just found this, in the records of Biblioth=E8que nationale de
France. Charte documentaire des acquisitions.
www.bnf.fr/pages/infopro/collectionspro/pdf/Charte_coll.pdf
These are manuscripts received in stead of death duties, the Countess
must have had quite a collection of
Wolgang
I just found this, in the records of Biblioth=E8que nationale de
France. Charte documentaire des acquisitions.
These are manuscripts received in stead of death duties, the Countess
must have had quite a collection of manuscripts:
Les dations ont enrichi considerablement les
Jean-Marie
I am sorry that I missed tha exhibition. I am happy to hear that it
was the Countess' wish to leave the documents, to the state, and not
just the family throwing them out, as it were.
Datations are often just that, and not a true and deliberate gift.
Best
Anthony
Le 27 mars 08 à
Dear Peter
I sent a message to Abe books saying I was ready to buy the
copy.
Perhaps I am one of hundreds, but thanks for sending the message to
the list.
Anthony
Le 26 mars 08 à 03:42, Peter Nightingale a écrit :
Dear List,
Here is another Frankie D copy. ABE keeps
Luca
At least you may be relieved that this one does not seem to actually
exist. It disappeared almost on the instant Peter mentionned it.
I would have bid also for your ebay copy. I was looking for an
American address that I could have had it sent to, they would not
post it to Europe.
Dear Lutists,
I would like to send you a message from Miguel Serdoura, announcing
a lute class and concert with Hopkinson Smith in Aixe en Provence:
Concert and Training course for lute with Hopkinson Smith, from the
22nd to the 25th of May 2008 in Aix-en-Provence
Thursday May 22,
David, Jean-Marie et les autres
There is another side to this question. Jacob Heringman speaks about
it on his interview with Ed Durbrow, and also on his home site.
He is often not happy with his recordings, he feels that he over
monitors his playing in the recording context (he is too
I work a lot with a particular singer who responds very well to
audiences, and the audiences to him. Studio recordings with him
tend to be a lot safer and therefore blander. For our next cd,
we've done three studio edited recordings together so far, I've
talked him into a live recording.
David, your comparison of the digital camera and the digital recorder
are helpful, although I am not technologically competent enough to
say just how far you can go in that direction.
Evidently, the lens or microphone set the overall limit in recording
quality, whatever equipment comes
Well, Benjamin, I have already congratulated you personally, but I am
pleased to join my words with the other members of the lute and
Baroque list.
I feel certain this article and your thesis, as well as your lute
performances, will seriously contribute to the ongoing resurrection
and
Well, Benjamin, I have already congratulated you personally, but I am
pleased to join my words with the other members of the lute and
Baroque list.
I feel certain this article and your thesis, as well as your lute
performances, will seriously contribute to the ongoing resurrection
and
Dear Lutists
I just wondered whether anyone would know how the Chinese lute known
as the Nanyin or Nanpa Pipa is strung: wire, silk, gut? I understand
it is played horizonatlly, Is it played with bare fingers, or a
plectrum.
Nanyin pipa (from atlas of plucked instruments):
Besides
Dear Lutists
I just wondered whether anyone would know how the Chinese lute known
as the Nanyin or Nanpa Pipa is strung: wire, silk, gut? I understand
it is played horizonatlly, Is it played with bare fingers, or a
plectrum.
Nanyin pipa (from atlas of plucked instruments):
Besides
.)=
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: Edward Martin [EMAIL PROTECTED];
lute@cs.dartmouth.edu; Arthur Ness [EMAIL PROTECTED]
Sent: Wednesday, March 05, 2008 5:53 AM
Subject: [LUTE] Re: Lutanist mayhem (was) Re: Etymology
| Ed and Arthur
| This story was told
Ed and Arthur
This story was told in an interesting article by Janet Snowman, in
December 2006, APOL LO Academy Pictures On-Line, Robert Spencer
http://tinyurl.com/239h99
in 1643 a London surgeon's casebook describe `Mr Ashberrie (a
lutanist) at night was bitten by Gottier, the
All very nicely played and recorded, but what an excellent idea to
give us the two 'French' tabalatures in parallel and separately. I
think a number of us will be trying these two variants, under the
guidance of you model playing.
I must get a wifi link to be able to transport my computer.
Considering the influence that Julian Bream had on many modern
lutists, it would probably best for such a lute to go to a museum.
There are several such non-authentic lutes in the Paris Music museum.
As to the musicality of the instrument, Jakob Lindberg in the Lute
Quaterly says that he
Dear Lutists
One small advantage of playing withouth the RH little finger on the
lute belly, is a perfectly clean lute with absolutely no trace on the
soundboard.
http://www.theguitarsalon.com/guitars/Rubio_1967Lute.html
This is a pity, if like me you hope to study the trace of lutists
never seen an 8-
course with a treble rider and both 1st and 2nd single strings.
David Rastall
[EMAIL PROTECTED]
On Mar 3, 2008, at 2:57 PM, Anthony Hind wrote:
Dear Lutists
One small advantage of playing withouth the RH little finger on the
lute belly, is a perfectly clean lute
have a double 1c set-up.
Roger Traversac, actually bought the Rubio for a guiraist friend, who
wanted to play in the Bream manner.
Anthony
Le 4 mars 08 à 00:02, Dante Ferrara a écrit :
On 3/3/08 19:57, Anthony Hind [EMAIL PROTECTED] wrote:
Dear Lutists
One small advantage of playing withouth
This article seems the best review I have seen, with clear explanations
http://digitalmedia.oreilly.com/pub/a/oreilly/digitalmedia/2007/09/13/
review-zoom-h2-surround-recorder.html?page=1
This one has recorded examples
http://www.audiotranskription.de/english/interviews-en/zoom-h2/zoom-
h2.html
Rob
As far as I know, so unhappy with his playing was Pascal Monteilhet
(or at least, not progressing enough ... I know the feeling), that he
sold all his lutes and set off for a Pacific island (or similar).
I understand that this was the second time he did something of the
sort. An
Yes Firefox, blocks and I have to force-close it.
Anthony
Le 28 févr. 08 à 14:28, wolfgang wiehe a écrit :
same here,
i am a member at esnips, but i can not open a file in the moment.
seems an esnips-internal problem.
greetings
wolfgang
http://www.esnips.com/web/lautenklang
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]; Stuart Walsh
[EMAIL PROTECTED]; Stephen Arndt [EMAIL PROTECTED]
Cc: baroque-lute@cs.dartmouth.edu
Sent: Thursday, February 21, 2008 10:55 AM
Subject: [LUTE] Re: Rank Amateur Recording # 3
Dear Stephen
Alan
If you are in the situation I was when beginning to play again, it
is more a question of getting your hands back into a supple enough
state to be able to do lute exercises.
The index of my left finger after one or two exercises would click,
and then a sort of burning sensation would
Rob
Yes I knew I would receive this message. That is why I have never
mentioned it before; but I was careful to say it has nothing to do
with strength, but everything to do with suppleness, and control. It
seems to make the joints more flexible. I have naturally very
unsupple fingers,
Rob
Had I wanted to do a Schuman on you, I would have suggested this
contraption,
http://tinyurl.com/2uv88o
However, I was addressing Alan Hoyle, who is no beginner in a hurry
to make progress, but apparently in a similar state to how I was,
struggling not to go backwards.
In some
Interesting your finger tips feed-back idea. It is often said that
blind people make sensitive musicians because of their increased
sense of hearing, but perhaps it is just as much to do with their
increased sense of touch.
After reading Matthew Wadsworths article on learning music by
Ed
I am pleased to have triggered so much agreement, although, in none
of my messages did I mention strength, just keeping ones limbs very
supple, which I (like Father William) believe is essential for
relaxation and lack of tension.
Although I must note, that in the exercises, I was given
favourite composers at that time, rather strangely, were
Marin Marais, and Maxwell Davies,
best
Anthony
Le 26 févr. 08 à 23:14, Mathias Rösel a écrit :
Anthony Hind [EMAIL PROTECTED] schrieb:
Same with me, although I know there is a way round this. I have
forgotten what it is.
Anthony
I'm so
Do you mean these, David?
http://www.elderly.com/accessories/items/PVP1T.htm
http://tinyurl.com/2au88d
Making holes for them:
http://tinyurl.com/2e2pmx
No they are not mine, but someone sent me the photos. I was a little
scared at the idea of fitting them, and also the non-historic
appearence.
Miguel estimates his method should cost somewhere around 40 € to 50
€. I think that sounds about right, if you look at the Damiani edition.
No guarantee of course.
Anthony
Le 24 févr. 08 à 22:43, Anthony Hind a écrit :
Rob and Stephen
About Miguel Serdoura's lute method, Miguel doe
David
You are right, it seems that the Aquila site is not responding.
I can only mention that one of my neighbours tried Mimmo's lute at
Greenich. He ordered a complete set, so he was obviously happy with
them.
I think Jakob Lindberg tried them, but I don't know what he thought
of
I tried to send a message to Aquila about the site being down, but my
message was blocked, and returned, with a very strange return message,
There is obviously some problem on their server.
Anthony
To get on or off this list see list information at
could just remove
the two lowest bass courses, when playing 11c music
(I think that should be easier, from what I have been told); and then
eventually you could put them back for 13c music, when you really
need it.
Regards
Anthony
Le 24 févr. 08 à 11:09, Anthony Hind a écrit :
Le 23 fevr
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