On 7/13/2012 7:35 AM, howard posner wrote:
On Jul 13, 2012, at 5:18 AM, Ed Durbrow wrote:
Far more relevant to our obsession is the forgotten Tarzon epic featuring virtuoso
mandora perfomances while swinging tree to tree by the fabulously talented Johann Leopold
Weissmuller. Filmed on location
Must have been about 10 or so years ago Jacob Herringman was nearly
defeated by the combined assault of jackhammers in the street outside
Trinity Chapel (Berkeley, Early Music Festival Exhibition) and a
screaming infant inside. Enough to deafen an entire family of Kalahari
Bushmen.
On
Ed Howard didn't write that nonsense; I am solely responsible for it.
Getting used to a new computer email system here, apologies to Ed
Howard. (Consider this a test)- Dan Winheld
On 7/13/2012 7:35 AM, howard posner wrote:
On Jul 13, 2012, at 5:18 AM, Ed Durbrow wrote:
Far more relevant
I have them on my 8 course lute- 62 cm. Have not weighed them, but I
feel no perceptible pegbox weight beyond the usual, which for this size
type of lute is negligible to non-existent. It would, of course, be
instructive to weigh one compare to normal pegs of comparable size
made from the
On 8/16/2012 2:58 PM, Christopher Wilke wrote:
One thing I do not like about traditional pegs is that it makes it
virtually impossible to tune on the fly.
Not according to E.G. Baron: A master must be able to tune his
instrument instantly while playing, so that it is
The first experience with these pegheds was on Dan Winheld's 8-course
lute. I really liked them, a lot.
Well, old pal, you just tried them out- you didn't have to live with
them! I suspect that as my lute was Dan's trial run with these things,
that not all the bugs (the pegs themselves as
My lute pegbox bent-
It fits in the case that way!
Damn archlute rebuild.
On 9/16/2012 7:16 PM, David Tayler wrote:
You ask, by the look on your face
Why the pegbox bends back at the base
It's not Broken, awry
Or to stick in your eye
It's just so it'll fit in the case
A question tossed onto the waves of this Ocean of Lute Wisdom-
Any consensus regarding the best material for body frets? My woodies
often sound a little too woody- they are some light colored wood, no
idea what species; and lately I've been knocking them off the
soundboard. So instead of just
the 10th fret usually) you have to look hard
to find pieces that use notes above the 10th fret, for the rest of that
century.
Bill
From: Dan Winheld dwinh...@lmi.net
To: lute@cs.dartmouth.edu
Sent: Wednesday, 26 September 2012, 0:37
Subject: [LUTE] Best Body Frets
01:37, Dan Winheld dwinh...@lmi.net wrote:
A question tossed onto the waves of this Ocean of Lute Wisdom-
What gets washed ashore - aprat from plastics - bamboo! I use bamboo
skewers. Rummage through the kitchen drawers to find one.
David
To get on or off this list see list information
..and I blew the syllable count on the last line. Hot seppuku for
breakfast tomorrow.
On 9/26/2012 4:22 PM, Sean Smith wrote:
Frets fall, leaves fly.
On Sep 26, 2012, at 4:12 PM, Dan Winheld wrote:
Warm case holds pegbox,
Wooden frets are falling off-
Autumn is in the air.
To get
Works fine with singles. Many of us have been doing it for years. My 3rd
fret, Baroque lute is on its 2nd rotation.
Dan
On 10/1/2012 3:10 AM, Martyn Hodgson wrote:
I don't know how this might work with single frets, but with double
frets I'm able to ease the fret back towards the nut,
I could use a bottle of Sunny Burgundy right now. Suitable for
consumption, of course. Unlike anything from Pyramid- either the
'brewpub' here in Berkeley or those sitar strings anywhere.
Martin- Congrats on the move- don't get sunstroke in the vineyard. Wish
we were there!
Dan
On
Until musical instruments can mate propagate on their own, the
biological systems for classification become a strained analogy that
must, at some point, break down. I'm still waiting for my 8 course tenor
lute and my 13 course Baroque lute to get together some night and bless
our happy
Well, that particular news is almost 11 months old- but quite alright to
give Dan Larson a plug. I just spent nearly $70 for a new 8th course
Pistoy bass string fundamental - 1.84 mm. One string! But I have to
say it was worth it. Pulls the whole lute together, soundwise.
Dan
On 10/22/2012
, but sometimes so that they lost
their character. And for me that is what I would like to avoid, so I go
for versions that have their own character.
dt
--- On Tue, 11/13/12, Dan Winheld dwinh...@lmi.net wrote:
From: Dan Winheld dwinh...@lmi.net
Subject: Re: [LUTE] Reconstructing
Nah. We wrapped it up; nothing else to see here.
Haven't heard much from Martin Shepherd lately, no doubt living the good
life bon vivant in his new Burgundian digs. I was waiting for him to
jump in.
But I am interested if any other Baroque lute players fill in some of
the chords and
I like the fake book idea, but even fake books are now a published,
uniform commodity; as opposed to the individual personal compilations of
different musicians, as varied as the individuals themselves.
Tracking down and precisely nailing down the ornaments? Only up to a
point, then one loses
is
nice to get all the details right in addition.
On 11/17/2012 9:51 AM, David van Ooijen wrote:
On 17 November 2012 18:35, Dan Winheld dwinh...@lmi.net wrote:
music, rather than a living re-creation. Even some Jazz Blues performers
have fallen into this trap. One technically great performer I know
Kapsberger used a wire strung theorbo...
Apples and oranges. Monofilament wire string technology, used in musical
instruments, goes way back- predating the Renaissance, maybe 13th
century (best I can remember off the top of my head). Nothing to do with
the idea of thin wire overwound on a gut
Bill-
In fact, some of the string makers are well aware of the stiffness
factor; and have been trying to cope with it, and are coming up with
increasingly flexible bass (where of course it matters most) strings. I
have recently been able to go to an all gut Pistoy of Dan Larson for
the 8th
progressing.
Bill
From: Dan Winheld dwinh...@lmi.net
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Friday, 30 November 2012, 19:10
Subject: [LUTE] Re: Gut strings - The elephant in the room
Bill-
In fact, some of the string makers
On 12/1/2012 7:20 PM, Edward Martin wrote:
Blood letting? It still works as the primary therapy for Polycythemia
Vera.
Kindly translate for us layluters, please- is it worse than Lachrimae Vera?
ed
At 12:00 PM 12/1/2012, Dan Winheld wrote:
On 12/1/2012 5:07 AM, Roman Turovsky wrote
[1]http://www.youtube.com/watch?v=fXynrsrTKbI
--
References
1. http://www.youtube.com/watch?v=fXynrsrTKbI
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
If you mean at the same time;
-Shaving with a straight razor in one hand and eating with chopsticks in
the other. But Thomas Campion- arguably at his less profound level than
Dowland- was better at being both poet composer of songs. Never the
underlay problems such as found in so many of
My verse is quite worse,
When the lute gut strings feel thirst-
Such dry winter air.
On 12/15/2012 2:16 PM, Ron Andrico wrote:
Mistakenly not posted to all:
When pondering what lutenists should not
Expend the few hours one has got,
The writing of verse
Seems quite the
Dear Collective Ocean of lute wisdom- Can anyone direct me to the
most historically authoritative edition of the Bach Violin Partitas?
Having mislaid my old version somewhere, I think it would be a good time
to go for the best source now available- if there is one with original
bowing,
On 12/15/2012 3:06 PM, Dan Winheld wrote:
My verse is quite worse,
When the lute gut strings feel thirst-
Such dry winter air.
On 12/15/2012 2:16 PM, Ron Andrico wrote:
Mistakenly not posted to all:
When pondering what lutenists should not
Expend the few hours one
Thanks everyone! Just the sources I need.
Dan
On 12/18/2012 7:36 AM, howard posner wrote:
IMSLP has the manuscript in both color (72 MB) and black white (14 MB):
http://imslp.org/wiki/6_Violin_Sonatas_and_Partitas,_BWV_1001-1006_(Bach,_Johann_Sebastian)
On Dec 18, 2012, at 12:14 AM, Dan
Got it! Thanks for the heads up. You have any more archlutes for sale?
Dan
On 12/20/2012 8:49 PM, David Tayler wrote:
A discussion of the issues surrounding the Mayan Apocalypse
specifically for music performers involved in the Historical
Performance movement (HIP).
http://youtu.be/NYLlQxFP_HM
But always with the ever present danger of death by hardware or
incorrect opinions. We are incredibly lucky that the Handel - Matheson
kendo encounter ended the way it did. And the human immune system,
getting far more vigorous workouts in those days, is a miraculously
wonderful thing.
On
About time, dude. Very good, especially live! -Nice selection, too.
Weiss' music has such wonderful, forward-energy to it; only Bach's music
has the same motion feel. No sea-sickness here. How was lunch? They
did feed you, didn't they?
Dan
On 1/13/2013 6:26 AM, David van Ooijen wrote:
This email came directly to me, not via the lute list. 2nd oldest scam
going, by the way. Magdalena- are you aware of this?
Dan
On 1/17/2013 6:49 AM, MAGDALENA TOMSINSKA wrote:
Hello,
I am sorry for reaching you rather too late due to the situation of
things right now.My
:
Hi Dan -
The lute mail list filters out most things like this .. sending any kind of
spam to the list causes me headaches, so I would rather that you didn't do it.
You message will be tagged
as spam coming from the lute server.
Wayne
On Jan 17, 2013, at 12:04 PM, Dan Winheld dwinh
..Magdalena Tomsinska
Hi Dan -
If you include the full text of the message, many sites...Maybe just
include a one line summary.
Wayne
On Jan 17, 2013, at 1:23 PM, Dan Winheld [4]dwinh...@lmi.net wrote:
Wayne- Not sure I fully understand you
The use of 8ves on courses 4 - 6 from late 15th to at least mid-16th
cent. on lutes and Italian vihuelas/violas is widely confirmed by enough
authoritative sources. One or more of the great early German pedagogs
(H.Neusidler, Gerle, Judenkoenig) was/were absolutely explicit on this:
1st course
Dear Martin Martyn-
In regard to technique being a factor in controlling the effect of 8ve
strings- my personal experience is that the thumb under/inside
technique, bringing more finger/thumb surface to bear on the course as a
whole the more parallel (even absolute parallel if one wishes)
It's not a guitar anyway- just an ordinary Caledonian Cobza. Paleolithic
Pictish cave paintings depict it quite clearly, along with primitive
peat fired pot stills. The musical instrument was a developed from
paddles used for stirring the mash in the early Uisge Beatha
experiments. In
Oh yes- that's a Dean Guitttar.
On 1/29/2013 1:16 PM, Dan Winheld wrote:
It's not a guitar anyway- just an ordinary Caledonian Cobza.
Paleolithic Pictish cave paintings depict it quite clearly, along with
primitive peat fired pot stills. The musical instrument was a
developed from paddles
Howdy Welcome Martha in but not Washington- boy you picked an
embarrassing moment to come knocking at our door. One of our little
family altercations getting out of control in the guitarist's pantry.
Ron, that's Guittarsnipe language. Don't lets start another one over
historic spelling!
David-
thanks for the Alfonso Marin's link. The detail from Rutilio Manetti's
painting I found very interesting; and leads me back to an earlier Lute
List discussion of octave stringing. The picture, dated 1624, shows an 8
course lute (broken single first course) and what appears to me to be
I believe Dan Larson has built just such lutes for Cinema. As I
remember, they were much more bullet proof than a real lute, but far,
far superior to mere stage crap. Ed Martin can probably tell us more.
Dan
On 2/7/2013 4:18 AM, wayne cripps wrote:
Hi -
I regularly get requests from
A Google search would seem to indicate that most internet users
would assume you meant a long stick bent by a string and used to fling a
projectile. Nonetheless, an interesting question.
Actually Bowing does have it's earliest European origin in archery,
specifically in late 14th century
Chris- Don't you have to play 13, immediately drop down to 7, THEN
jump back upto damp 13 to avoid harmonic confusion? Otherwise, one
gets a staccato spot in a bass line- perhaps appropriately in some
pieces- but not for a usual note-by-note progress in the bass- one that
connects notes Like
I think there is room for confusion here- Savarez has had two very
different sorts of KF string. Up to about .85 mm, it is the clear
stuff that looks virtually identical to plain, polished nylon- only much
denser, denser than plain gut as well. Don't recall the ratios off
hand, but this KF
The stuff of nightmares. All my sympathy..
On 3/4/2013 1:02 PM, Bernd Haegemann wrote:
The instrument was stolen in Paris (Gare du Nord).
It is an 8ch by Paul Thomson.
More info here:
www.lute-academy.be/docstore/stolen.jpg
best regards
Bernd
To get on or off this list see list
I'll do it for you in 15 - 20 minutes. Might take an hour to coach you
on doing it properly yourself. It's just a matter of repetition
practice (like learning to play the lute or some such thing.) I am
nowhere near any part of London, somewhat west of that area- just about
20 miles from New
I think we have to do an intervention. Everyone on the lute list meets
at Stuart's house with several miles of guts, a few dozen bare naked
lute necks, and several cases of strong IPA. Come Hell or high water,
his lute WILL GET FRETTED! And nobody leaves sober.
Dan- (fret gut, clippers,
I forwarded this to two of my lute students who both have deep harp
backgrounds- maybe they will come back with string answers.
Oh yes, very lovely! Thank you...
Dan
On 4/6/2013 1:26 PM, Rob MacKillop wrote:
Round ones...
OK. I'm not prepared to give a well-researched answer, mainly because
They actually look a little TOO white for Savarez KF. They look more
like 1st generation Nylgut- but I doubt that he would use that stuff.
More likely plain gut?
Dan
On 4/12/2013 9:43 AM, Martin Shepherd wrote:
The basses look very white - could they be Savarez KF strings?
M
To get on or
Hi Edward,
Actually, guitarists have been using tab for decades. Upside down
Italian, the system use by Luis Milan. Mostly the Blues Folk crowd,
and some pop oriented beginning Jazz methods- but I do recall seeing
some CG stuff in recent years with parallel tab. versions along with the
, is a fine arpeggio study. You can work out some killer thumb-index
drills, thumb out or under with that one.
Dan
On 4/22/2013 9:33 PM, Dan Winheld wrote:
Hi Edward,
Actually, guitarists have been using tab for decades. Upside down
Italian, the system use by Luis Milan. Mostly the Blues Folk crowd
One thing we shouldn't lose sight of here. Like Bruce Lee pointing at
the moon and reciting the old Zen wisdom of Do not mistake the finger
pointing at the moon for the moon itself, we must likewise keep in mind
that we are talking of the re-creation -in sound- of aural documents
that were
. New mistakes creep in. Finally
the piece gets played- maybe for the first time in 500 years. And in the
performance- NEW MISTAKES CREEP IN! (Applause!)
On 4/23/2013 11:37 AM, Dan Winheld wrote:
One thing we shouldn't lose sight of here. Like Bruce Lee pointing at
the moon and reciting the old
in now, and
transcribes it yet again- out of notation and into tab. Or the
reverse. New mistakes creep in. Finally the piece gets played- maybe
for the first time in 500 years. And in the performance- NEW
MISTAKES CREEP IN! (Applause!)
On 4/23/2013 11:37 AM, Dan Winheld
Amazing synchronicity amongst individuals within the same group. I was
just given the same link to this player yesterday from a
colleague/occasional student - an avant-garde composer performing
artist with no connection to lute geekdom- of course he wants one! And
this has been up since 2010.
For a while (in the Siena book, anyway) Francesco was da Parigi- but
in the end just a vacation- Busman's Holiday. And of course, Alberto
da Ripa- who stayed in France, but then Francophoned to de Rippe,
like Jean Paul Paladin- Had lute, would travel. It can get
complicated; Ottaviano dei
name manglings is a myth.
Every immigrant's name had to be and was matched to the ship's
manifest, and any deviation was massively illegal.
So any changes people claim were made either at naturalization, or at
the passport office in the old country.
Cheers,
RT
On 5/8/2013 12:05 PM, Dan Winheld
. He was standing in
line
behind a man named Goldberg. When they reached the desk, the
official
assumed he was the man's son. No one argued with him.
On Wed, May 8, 2013 at 12:05 PM, Dan Winheld [1]dwinh...@lmi.net
wrote:
For a while (in the Siena book, anyway) Francesco
This allegorical/symbolic dimension of a Golden Rose Lute as a
non-physical spiritual goal is treading enigmatically close to Kakuan's
Ten Bulls, a Zen classic by the 12th century Chan Master, Kakuan. It
is a series of 10 engravings with text; (based on extending an earlier
Taoist work)
The longer this thread continues, the more I feel like I've gone back 45
years in a time machine. This is EXACTLY the situation I encountered as
a young Classical guitar student at university all those years ago; and
my love of the lute early music only compounded the scorn weirdness
Too bad, he would have been in great company:
Last of the Whorehouse Piano Players - a CD of music by Ralph Sutton
Jay McShann.
I think the young Albeniz had a few gigs in some seedy places as well.
On 8/7/2013 11:45 PM, howard posner wrote:
On Aug 7, 2013, at 7:28 PM,
On 8/8/2013 9:36 PM, Christopher Wilke wrote:
Having taken these keyboard classes, and speaking as someone with a
doctoral degree in historical plucked instruments, (ya know, lute,
theorbo, baroque guitar and all that jazz) I can say that the
considerable keyboard requirements
Being able to play figures off a baritone clef and transpose down a third while
doing so has nothing to do with playing musically, collaboratively and with appropriate
ornaments and affect.
Yes it does. If you are stopped cold in your tracks by an unfamiliar
clef, that will end the
For me, the lute started with the Segovia selection of Six Lute
Pieces of the Renaissance that he pilfered from the Oscar Chilesotti
transcription- curiously enough already put into octave treble clef
guitar notation- and for an E instrument. Then individual movements,
some from lute suites,
/2013 7:40 AM, Dan Winheld wrote:
For me, the lute started with the Segovia selection of Six Lute
Pieces of the Renaissance that he pilfered from the Oscar Chilesotti
transcription- curiously enough already put into octave treble clef
guitar notation- and for an E instrument. Then individual
Hi Ed-
That's right- New York Pro Musica, Noah Greenberg. And those old heavy
but cool Passauro (Sp?) lutes. Do you know if there are any vids of him
playing? Or even still pictures somewhere? Even some ex- student's
description would help. I have largely gone over to thumb-out myself-
HIP
-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of Dan
Winheld [dwinh...@lmi.net]
Sent: Tuesday, August 13, 2013 11:35 AM
To: Edward Mast
Cc: 'lute'
Subject: [LUTE] Re: now- How did Iadone play?
Hi Ed-
That's right- New York Pro Musica, Noah Greenberg. And those old heavy
but cool Passauro
, Joseph ma...@rowan.edu
To: Dan Winheld dwinh...@lmi.net; Edward Mast nedma...@aol.com
Cc: 'lute' lute@cs.dartmouth.edu
Sent: Tuesday, August 13, 2013 11:49 AM
Subject: [LUTE] Re: now- How did Iadone play?
Hi Dan
I have a picture of Iadone from an old string packet. I know how
misleading
.jpg
Bill
From: Dan Winheld [2]dwinh...@lmi.net
To: Edward Mast [3]nedma...@aol.com
Cc: 'lute' [4]lute@cs.dartmouth.edu
Sent: Tuesday, 13 August 2013, 16:35
Subject: [LUTE] Re: now- How did Iadone play?
Hi Ed-
That's right- New York Pro Musica, Noah Greenberg. And those old
No new light on this elusive lute concerto, but there was a dark, Kurt
Weill-meets-Peter Schickele side to Hindemith that I never knew existed.
NY Times article about his pre-war send-up caricatures of Wagner. (And
the famous picture of Joe the Collegium.)
Very interesting. Spent some time drooling over the flickrpics you so
kindly provided. Magnificent- beautiful, perfectly proportioned; string
spacing doesn't appear unnaturally wide. 65 cm SL is a perfect length
(to my predilection vis-a-vis hands, body size, pitch) the apparent
distances all
Franz;
Very well reasoned eloquently written response- you have made me quite
curious to see try one of these things out. I have an instrument of
my own that fits no historical classification but provides an
alternative tone color; a seven string steel-string guitar acquired
cheaply on a
, at 11:36 AM, Dan Winheld dwinh...@lmi.net wrote:
One more thought/question regarding the Liuto Forte; it seems that there is/has
been a trend for more single-strung archthings these days; I tried one once-
tension felt pretty tight, and the string spacing rather wide. H!?!
On 8/23/2013 10:29 AM
I'd buy a new Mac or a new software program in a heartbeat if it came
with a new Martin Shepherd lute.
On 9/8/2013 4:29 AM, Daniel Shoskes wrote:
Sorry!!! Obviously meant as a response to Ed's Django question, not a way to
simulate one of Martin's fine instruments on a mac
On Sep 8, 2013, at
Bill's got it. Adrien le Roy makes it Kosher- but I would do it anyway.
Exceptions are the very rare wide, blocky finger tips that can actually
cover both courses (FOUR strings!) on the end. When Joseph Iadone's name
came up a few weeks ago, someone said that he had such fingers could
nail
-large fingers fingers that came with
this ordinary production model lutenist.
Dan
On 9/9/2013 8:29 AM, Dan Winheld wrote:
Bill's got it. Adrien le Roy makes it Kosher- but I would do it
anyway. Exceptions are the very rare wide, blocky finger tips that can
actually cover both courses (FOUR
Excellent! Thank you, Martin. Yes, those are two good ones. I can do
them- but the first chord, a-minor, is a tad shaky. Wouldn't try it in
performance! The B-flat major chord is actually a lot easier for me;
partial barre w/ last joint of 2nd finger, 3rd finger for the 3rd course
f fret, then
Capirola himself is the source of Capirola's ornaments. Two dots ABOVE
the tab cipher (not the finger dots below) means a simple mordent- quick
pull off to note below hammer back on. A ghost cipher made up of
dots indicates the opposite- hammer on to the dot-cipher from the main
note followed
level of
ornaments, the music sounds very bare without them.
Best wishes,
Martin
On 21/09/2013 17:33, William Samson wrote:
Thank you Dan. That's a great help.
Bill
From: Dan Winheld dwinh...@lmi.net
To: William Samson willsam...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu lute
Monica, Stephen, et al-
I also remember the English (tenative?) translation of the Bermudo
panezuelo- seems like it would have to be some sort of
movable/removable nut, stopping the strings from below as opposed to our
modern capos; which presumably would not have worked too well without
:
On 25/09/13 3:34 PM, Dan Winheld wrote:
Polar opposite to Jazz electric guitarists, who seemed to me to
avoid
open strings as much as possible.
Joe Pass in one of his video lessons gives the advice to avoid keys
with too many many open strings: all those droning
Another good point- the only lute for which I built my own capo (pain in
the butt piece of fussy work) was a 72 cm SL Division bass lute that
worked very well as an E lute (a-415 or 440) with a generous 10 fret
neck, and narrow-ish sloping shoulders at the neck-body joint. But, in
order to
Panormo guitars were exported to the Indian market (designed for the
climate) but there must probably have been earlier forms of guitar
present too.
And later forms as well- an example of what this has led to can be learned by
checking out Debashish Battacharya:
University Press
Books. Light refreshments will be served, donations accepted!
Dan Winheld, lute; in a program featuring Hans Melchior Neusidler,
John Dowland, and Astor Piazzolla.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
For the upright, almost vertical position check out the Pipa player's
technique. I have NEVER seen them held horizontally- and those are not
excessively large lutes. Having played the viola da gamba quite
seriously years ago, I can attest to the great ease of long stretches on
a vertically
/justin/wp-content/uploads/2012/01/biwa_g_main.jpg
the Vietnamese tỳ bà appears to be held at a 45 degree angle...
Edward Chrysogonus Yong
edward.y...@gmail.com
On 4 Oct, 2013, at 12:12 AM, Dan Winheld dwinh...@lmi.net wrote:
For the upright, almost vertical position check out the Pipa
If you remove the neck with its extension and jam it through the rose,
you can rig a sail on the thing and go boating on the bay. One gentleman
who used to play a gigantic theorbo here had an instrument that would
have floated at least three medium size lutenists and their lunch
comfortably.
Tom -
I have a very similar set-up, and I can assure you that for
long-distance, non-hands on stringing help Chris Hendriksen is the best;
(I have used him for decades) but in the end each individual has to make
the final tweaks adjustments that work- and they may be a little off
from any
The only long-distance aspect of this I could address would be to ask
you is whether or not you are pro-actively tensing the extensor muscles
in the back of your left forearm in an unnecessary effort to get fingers
off the string as fast as possible, in order to move around the
fingerboard in
No personal experience with Edlinger copies, but if he was good enough
for Weiss, he ought to be a good enough model for anyone- luthier
lutenist these days. Of course your builder could be nervous the 1st
time around with a new body style. Is he/she on good enough terms with
other luthiers
Oops! I just saw that you said theorbo -forget everything I just wrote.
No experience these things!
On 10/18/2013 12:04 PM, BENJAMIN NARVEY wrote:
Dear All,
I am getting a small theorbo made after Edlinger, but my lute maker
feels the model is excessively thin; she is worried
,
I should think a capo --in theory, anyway-- could work at most any
fret; just adjust your frets accordingly in The Pattern. (You'll miss
out on that tastino goodness unless you can fashion one to stick down
where you need it but I think Dan Winheld had a trick for that, too)
You'll move fewer
to gently try out the frets.
Dan
On 10/29/2013 7:02 PM, Sean Smith wrote:
Dan, I was referring to a fletching adhesive that I think you
suggested for a tastino. Ring a bell ...perhaps with pure
overtones?
On Oct 29, 2013, at 6:50 PM, Dan Winheld wrote:
No tricks. Just
Talk of tastini has gotten me wondering, what is the best material for
body frets? I have been playing a lot of music recently that dances
around in the lute's stratosphere- Melchior Neusidler, Mudarra, Milan's
advanced fantasias, etc. The plain wooden frets I have now- probably
Maple, maybe
On Oct 29, 2013, at 11:05 PM, Dan Winheld [2]dwinh...@lmi.net wrote:
Talk of tastini has gotten me wondering, what is the best material
for body frets? I have been playing a lot of music recently that dances
around in the lute's stratosphere- Melchior Neusidler, Mudarra, Milan's
at planting their LH finger in just the right spot.
Bill
From: Dan Winheld dwinh...@lmi.net
To:
Cc: lute lute@cs.dartmouth.edu
Sent: Wednesday, 30 October 2013, 18:24
Subject: [LUTE] Re: Best body fret material?
Thanks all for the great replies. Lilac? That is the most
Very cool, Arto!
Keep exploring, do more- it keeps us alive.
Dan
On 11/1/2013 4:05 PM, Arto Wikla wrote:
.. just in case there is any interest, my just a tiny little modest
try in
http://www.youtube.com/watch?v=xFN2nc9B0lcfeature=youtu.be
best,
Arto
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Garden Music
University Press Books and The Musical Offering CD Shop
invite you to an hour of music and
hospitality.
Appearing on November 9th, from 4:00-5:00 pm:
Dan
Howard,
Come over to my place sometime (I will NEVER perform this in public!)
and I will play the Villa-Lobos Etude No. 1 on my 8 course. I can do
it w/ 3rd course at a or b-flat. Kick ass workout for thumb-index
technique; either thumb inside or out. And I have had a few master
classes with
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