On Mar 18, 2014, at 6:06 AM, Christopher Wilke wrote:
> But worrying that you're hogging the spotlight is a baseless fear. . . .
. . .
> What about having parity with the keyboard is there to fear?
Were not discussing fear of hogging the spotlight or of achieving "parity with
the keyboard (w
I recall playing from a published edition of his recorder music, but it was a
long time ago and it may not be in print now. IMSLP has a few of his things.
On Apr 9, 2014, at 10:51 PM, MANUEL MINGUILLÓN (GMAIL)
wrote:
> am in search of Daniel Purcell's music. Does anybody know if the:
> "Six
On Jun 4, 2014, at 7:50 AM, Braig, Eugene wrote:
> On O'Dette's recording of the Vivaldi works with the Parley of Instruments
> (1986, Hyperion CDA66160), he speculated the works to designate "mandolino"
> to be intended for the five or six course mandolino (i.e.,
> [g]-b-e'-a'-d''-g'') played
If you’re not in a hurry to get the instrument strung, you could try getting
two courses based on whatever criteria you think appropriate, put them on, and
see how they work. If they’re too big/tense, move them down (e.g., from ninth
and tenth to tenth and eleventh) and if they’re too slack, mo
On Jul 28, 2014, at 6:39 AM, wayne cripps wrote:
> One of my lutes has a varnish finish, and in the humid weather the fuzz from
> the case lining sticks to the varnish, and gives part of the bowl a flocked
> look! Can you suggest a way to get the fuzz off and keep it from sticking
> again?
On Jul 28, 2014, at 8:16 PM, Mayes, Joseph wrote:
> Zowie!! Just mention, in passing that one of the sacred cows is somehow not
> the best idea, and the floodgates open!
Well, the writer said (and not in passing — it was the sole subject of his
post) that resting the little finger on the top w
On Aug 1, 2014, at 7:56 AM, Charles Mokotoff wrote:
> I must have a
> roomful of printed books of music, greatest hits of the era, Dowland,
> Campion, Ford, most of the Stainer and Bell editions.
> Is there a place on the internet where these are perhaps already living
> to save me the s
On Aug 4, 2014, at 1:54 PM, Tobiah wrote:
> I'm interested in how they played, but I like what Jimmy Hendrix did with
> Francis
> Scott Key
You mean John Stafford Smith, unless you’re admiring the way Hendrix recited
poetry.
> at the same time. Maybe a little light chorus effect will spice
On Aug 4, 2014, at 6:17 PM, Sean Smith wrote:
> Why doesn't anyone talk about historically informed listening?
Perhaps the answer to that question can be found in Ken Burns’ 2001 PBS series
about jazz, which was titled, very creatively, “Jazz.”
He showed jazz pianist Cecil Taylor saying that
On Aug 5, 2014, at 9:00 AM, Tobiah wrote:
Ever since grade school, I've heard that
> Francis Scott Key wrote the national anthem. I guess I always assumed that he
> wrote the music.
http://en.wikipedia.org/wiki/To_Anacreon_in_Heaven
> What's funny is that there are a lot of people in the
On Aug 5, 2014, at 9:35 AM, Doug Asherman wrote:
> There's an instruction manual? Why am I spending all this money on lessons?
Your question indicates a lack of experience with instruction manuals.
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On Aug 6, 2014, at 9:12 AM, wayne cripps wrote:
> So why aren't people sticking to the subject line?
Perhaps because they suspect that it was concocted by a deranged person.
> My Pignose Hog 30
> is my go to amp for playing at outdoor events! (along with a Sennheiser
> microphone and a lin
On Aug 9, 2014, at 9:34 PM, Ed Durbrow wrote:
> My 34 year old zeroes of the 1650 archlute manuscript by Gianoncelli has a
> page that looks like a dedication page signed Lugretia Gianoncelli. So where
> does the name Bernardo come from that I see in reference to Giononcell? That
> is the onl
On Aug 10, 2014, at 7:25 AM, Bernd Haegemann wrote:
> Respighi arranged one of G's pieces:
>
> https://www.youtube.com/watch?v=CQrXTGmTqb4
Actually two of them. He inserts the C major Tastegiata (faster than it would
make sense to play it on the lute) as a sort of middle section in the
Berg
On Aug 14, 2014, at 2:29 PM, R. Mattes wrote:
> Poor Castaldi - according to his own engravings he played an instrument
> that, according to modern folklore, was a typical french theorbo (rather
> small, single strung with a roundish/deep body).
Unless it’s the tiorbino.
To get on or off thi
On Aug 20, 2014, at 11:48 AM, Dan Winheld wrote:
> Having said that, I must agree with Roman- out of character for the
> instrument, at least for "performance".
Given that it’s an oboe solo that Bach arranged for harpsichord, probably for
didactic purposes, I’m not sure it makes sense to dra
On Sep 1, 2014, at 8:44 AM, Edward C. Yong wrote:
> Style and taste question - do you think an archlute or a baroque guitar would
> be better for this?
Impossible to answer that question in a vacuum. It depends on your particular
instruments and ability (is your guitar much louder than your a
On Aug 31, 2014, at 6:22 PM, Dan Winheld wrote:
> William Hogarth might have seen a need for even more police
>
> http://janeaustensworld.wordpress.com/2009/11/03/londons-street-noises-the-enraged-musician-by-william-hogarth/
We’ve had discussions here about the relative noisiness of moder
I’m loathe to open up yet another contentious debate about performance practic,
but isn’t “air” performance properly limited to performance without anything in
the performer’s hands?
I’m not sure it addresses the question directly, but I think any inquiry has to
start with the excellent “Air Lu
On Oct 15, 2014, at 12:39 PM, r.turov...@gmail.com wrote:
> Actually the brouhaha was mainly about the bridge width, even before I could
> get to the distorted swanneck curve..
Previous discussions indicate that there’s a lot of disagreement with your view
of bridge spacing; you might want to
eling Pat's idea/ls.
> RT
>
>
> On 10/15/2014 3:51 PM, howard posner wrote:
>> On Oct 15, 2014, at 12:39 PM, r.turov...@gmail.com wrote:
>>
>>> Actually the brouhaha was mainly about the bridge width, even before I
>>> could get to the distorted swanne
I asked the point of asking for ideas if you’ve already decided you’re not
going to change the thing you’re asking ideas about, even to acknowledge that
some players disagree with you.
On Oct 15, 2014, at 2:46 PM, r.turov...@gmail.com wrote:
> Huh?
> All the players I respect tend to have wide
On Oct 16, 2014, at 7:32 AM, r.turov...@gmail.com wrote:
> I wrote ADD, not "change".
I guess that means you can’t take the apostrophe out of “it’s,” but you can add
“not everyone shares my view about how wide bridge spacing should be.” So
we’re agreed, and your path is clear. No need to than
On Oct 18, 2014, at 8:43 AM, David van Ooijen wrote:
> I'm looking for the score of Oblivion Soave
Have you checked IMSLP? There are couple of versions there.
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On Nov 3, 2014, at 7:47 AM, Martyn Hodgson wrote:
> why do you think the theorbo was ever invented?
Well, one clue is that the first theorbo design was commissioned in 1595 by the
Marketing Committee of the Pan-Italian Chiropractors Association.
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On Nov 8, 2014, at 5:40 PM, Leonard Williams wrote:
> They used to strike
> silently, in the darkness of the lute case, but now they are bolder and
> snap out in the full light of the music room. A nasty bleeding welt
> across my left index digit is proof enough to me that these trebles are
> t
My very first lute had rollers at the nut. I bought it from Kelischek in 1982
and sold it a couple of years later. Rollers solve all the sticking problems.
The only disadvantage is that you can’t change the nut spacing without
dismantling the nut mechanism.
On Nov 18, 2014, at 7:48 AM, John
On Nov 23, 2014, at 7:37 AM, Martin Shepherd wrote:
> The size of the opening affects the natural resonant frequency of the body,
> with a smaller opening giving a lower frequency.
>
> But I invite all you proper physicists out there to explain why!
Do a web searches for “calling Dr. Helmholt
On Nov 24, 2014, at 11:17 AM, Charles Mokotoff wrote:
> Can someone explain...errr "Chipass" to me?
As in “Chi passa per sta strada” Try:
https://www.youtube.com/watch?v=S-eebUidttE
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The Oxford English Dictionary includes "to fall short" ("It fainteth or
straieth from the marke, if you aime further off"), also to lose heart, be
depressed, from about this time period. The sense here seems to be that he
thought he should not be half-hearted in his gratitude.
On Apr 5, 2011,
On Apr 8, 2011, at 4:26 PM, Roman Turovsky wrote:
> Here's Merula's Cappriccio Cromatico played on a mean-tone organ:
> http://www.youtube.com/watch?vÕ_bSrkEFXs
>
> It was so insufferable I had to turn it off halfway through.
The second half was the best part.
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On Apr 11, 2011, at 9:01 PM, David Tayler wrote:
> Dear collective wisdom, please weigh in with your favorite Purcell
> song for the tenor range for my fall set.
'Tis Nature's Voice
On the Brow of Richmond Hill
But why the hit parade? You could probably find a gem by opening Orpheus
Britan
Try one of these:
http://www.sca.org.au/del/ddb/music/caroso_spagnoletta_transcribed.pdf
http://sca.uwaterloo.ca/~praetzel/phaedria/SPAGNOLE.pdf
On Apr 24, 2011, at 11:52 AM, Julia Seager-Scott wrote:
> Hello all,
>
> I am a triple-harp player looking for the original source of Respighi's
>
Imagine how good these guys could be if they had heads.
On Apr 26, 2011, at 1:13 PM, David van Ooijen wrote:
> I'm sure it'll be authentic one day, if we wait long enough:
> http://www.youtube.com/watch?v=J8CrDkOlhEI
>
> David
>
> --
> ***
> David van Ooijen
> david
Very nice. Is there some idiomatic meaning to "Die Gezeiten des Walden" that
the English "Tides of the Forest" doesn't translate?
On May 5, 2011, at 8:13 AM, Anton Höger wrote:
> hi,
>
> for all of you who want to hear a composition of me
>
> here is a youtube link
>
> http://www.youtube.com/
On May 15, 2011, at 8:58 AM, adS wrote:
> By the way, Robert Johnson died on 18.Nov.1633.
Is it too late to send flowers?
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Is anyone aware of evidence, other than Kremberg's 1689 book, for the guitar in
German-speaking lands before about 1750?
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Very interesting source. Thank you.
On May 16, 2011, at 9:33 AM, Andreas Schroth wrote:
> I found this page:
>
> http://www.studia-instrumentorum.de/MUSEUM/GITARREN/QB/git_qt_dtsch.htm
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On May 27, 2011, at 2:53 PM, Sean Smith wrote:
> Guitars in the early 20th century used metal frets and gut together, I
> presume.
And in the 19th century.
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On Jun 7, 2011, at 4:24 PM, Stewart McCoy wrote:
> The words "come" and "die" have two meanings.
If you're suggesting that "come" has an orgasm-related secondary meaning, I
think you're centuries early. I'm pretty certain Dowland would not have
started with "Come again" if he thought it meant
On Jun 8, 2011, at 6:36 AM, Catherine Arnott Smith wrote:
> Re: "come" in the sense of orgasm: One of my research areas is the use of
> obscenity to describe health concepts, so I happen to have encountered this
> question before. The OED Third dates this usage to "before 1650" and
> Partridge'
>
> The digital OED 3rd, however, gives this as meaning # 17, "To experience
> sexual orgasm. Also with off. slang."
>
> and cites
>
> "a1650Walking in Meadow Green in Bp. Percy's Loose Songs (1868) , Then
> off he came, & blusht for shame soe soone that he had endit."
>
> [A1650 means
On Jun 19, 2011, at 9:41 AM, be...@interlog.com wrote:
>
> Is anyone aware of any good articles about Bach as an improviser -
> contemporary commentary, modern analyses of toccatas/fantasias, etc?
Most of the contemporary accounts are in The Bach Reader, some of them in the
"Bach as Seen by H
On Jun 25, 2011, at 2:44 PM, David Tayler wrote:
> For the Trauerode, if memory serves, you need some chromatic notes.
> When I recorded it I tuned my D to C and tuned a few chromatic notes
> in the long strings.
> Gorgeous music!
> Of course it could be for two lautenwerken.
> Bach had several
On Jun 27, 2011, at 4:34 PM, Leonard Williams wrote:
> This discussion of breaking pitch has me wondering: Knowing the breaking
> pitch of gut, can we use the rule of tuning a treble to just below breaking
> pitch to determine at about what pitch lutes were tuned historically?
Not really.
You
On Jul 1, 2011, at 12:32 PM, wikla wrote:
> 30 year old Pyramids on the 3 lowest basses - worn out enough not to be too
> loud and ringing.
Don't you love those? If Pyramid starts selling pre-aged strings they could
recapture the HIP market.
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On Jul 2, 2011, at 6:27 AM, be...@interlog.com wrote:
> Do it! My guess is Bakfark would have liked to have his music played with a
> few notes missing, or on open courses, than not played at all. And I
> guarantee you that no audience member will know or care, ever. Unless they
> have taken p
On Jul 2, 2011, at 12:22 PM, Monica Hall wrote:
> If there is such a word it should be gynAEcentric.
>
> cf. gynaecology, gynaeceum etc
>
> Ms. Cusick knowledge of Greek is evidently somewhat lacking.
Perhaps she was writing in English.
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On Jul 2, 2011, at 2:54 PM, David R wrote:
> People didn't suddenly change from neoclassical robots into emotional beings
> in 1800.
Well, there is that famous entry on Johann Nepomuk Hummel's calendar January 1,
1800:
"Pick up laundry. Change from neoclassical robot to emotional being. Buy
On Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
> In fact a public expression of feelings through the choice of c-minor for his
> Great Mass did cost Mozart his job in Salzburg.
What cost Mozart his job in Salzburg was that he didn't want it. He insisted
that he be released, and it took mon
On Jul 3, 2011, at 4:51 AM, Monica Hall wrote:
> Or American? Do you refer to Gynocology in the States?
I rarely refer to gynecology, regardless of what state I'm in, and I would
definitely avoid the word in Utah, especially on a Sunday. I sometimes refer
to "my wife's OB guy."
You might
s said anything about having his face slapped.
> RT
>
> - Original Message - From: "howard posner"
> TOn Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
>>
>>
>>> In fact a public expression of feelings through the choice of c-minor for
>>> hi
On Jul 3, 2011, at 8:13 AM, Monica Hall wrote:
> Which is American. I checked the Complete Oxford Dictionary on-line and all
> the sources it quotes seem to be American
You seem to imply that if they're American, they don't count...
> Well - we all know Americans spell things in a funny wa
On Jul 3, 2011, at 8:18 AM, Roman Turovsky wrote:
> That may very well be so, but a Mass does not have to complete to be a
> full-blown slap in the face of the ecclesiastical taste. And eccessive
> melancholy has always been viewed with suspicion by the authorities. Still is.
I no longer know w
On Jul 3, 2011, at 12:09 PM, Karen Hore wrote:
> In mild defence of the inhabitants of that collection of islands with toes in
> the North and Irish Seas, the Atlantic Ocean, and that much quarrelled over
> stretch of water La Manche/The English Channel. Their venerable
> lexicographical instit
On Jul 4, 2011, at 11:08 AM, David van Ooijen wrote:
> I have a smallish archlute to my
> own specs, tailored for 440 jobs and easy transport. Very convenient.
You mean to say you have a largish archlute, too big to play at 465, where you
ought to be doing Monteverdi and other Venetian and Mantu
On Jul 17, 2011, at 8:30 AM, Roman Turovsky wrote:
> no, baroque lute requires a lot less physical labor: fewer notes, more space
> between them.
Roman will correct me if I'm wrong, but I believe it's still the case that he's
never played renaissance lute.
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On Jul 17, 2011, at 2:24 PM, sterling price wrote:
> Just because the baroque lute has more
> strings doesn't automaticly make it harder to play. If that were true the
> piano
> would be the most difficult of all.
If you try playing the piano using nothing but your right thumb on the bottom
On Aug 6, 2011, at 12:15 PM, Edward Mast wrote:
> The only current maker whose instruments I have played and can absolutely
> recommend is Dan Larson, but I think his wait time is rather long right now.
> Others listed in the Lute Quarterly are Richard Fletcher, David Fitzpatrick
> and Ken Bro
On Aug 10, 2011, at 1:42 PM, theoj89...@aol.com wrote:
> Take great care with stretching exercises of the hand!! I deal fairly often
> with musicians' injuries, and musicians are nearly as bad as competitive
> athletes as far as abusing their bodies to try to get better performance.
> Remember
On Aug 16, 2011, at 8:37 AM, Ron Andrico wrote:
> I share your puzzlement at how Besard could have been so careless,
> especially in his ensemble writing.
It's puzzling only if you assume he had control of the finished product. He
may never have seen a proof.
In any case, the early days
tting
nine.
Cordially yours,
Howard Posner
Executive Administrative Facilitating Coordinating Executive
Society for Truth in Robert Schumann Stories
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On Aug 18, 2011, at 10:52 AM, William Samson wrote:
> Incidentally I think I prefer the myth and it's much more memorable than the
> truth.
Really? Would you still think so if I told you the truth was that an aardvark
bit Schumann's right index finger?
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On Aug 18, 2011, at 11:03 AM, William Samson wrote:
>
> PS What was he doing to the aardvark? That could be interesting too.
He was biting the aardvark, obviously. Aardvarks never bite pianists except in
self defense.
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On Aug 27, 2011, at 7:12 AM, Stephen Stubbs wrote:
> Just another example of the Social Justice experiment still going on in USA.
>
> Basically,
>
> Corporations are Bad.
> Social Justice is Good.
>
> The last major Social Justice experiment made it all the way into the USA
> Constitution as t
On Aug 28, 2011, at 2:29 PM, Garry Warber wrote:
> I'm thinking theorbo purchase... Where does one get a nylon theorbo
> 14-course string set?
Never mind the strings; where did you find a nylon theorbo?
> I measured my 8-course lute strings, which went
> from 100cm to 110cm; obliviously
On Aug 28, 2011, at 9:11 PM, Garry Warber wrote:
> You can find anything on eBay now -a-days... :-)
> Garry
>
> -Original Message- From: howard posner
> Sent: Sunday, August 28, 2011 5:52 PM
> To: Lute List
> Subject: [LUTE] Re: long strings?
> On Aug 28, 2011,
This discussion would make a lot more sense if posters explained what gut is
being compared to. In some cases, it's overwound strings, and in others, it's
plain nylon.
On Aug 30, 2011, at 5:00 AM, andy butler wrote:
> Are there any players who reckon that damping is essential?
Tympanists, m
On Aug 30, 2011, at 1:45 AM, Rob MacKillop wrote:
> However, from the dimmest corner of my memory bank,
> I think Mersenne (or someone else!) indicated the bass strings should
> have a sustain of 20 or so heartbeats [forgive me if I am getting this
> all wrong!]. How long that might be depe
On Oct 11, 2011, at 7:36 PM, JOSEPH CALABRESE wrote:
> My first attempt at a youtube recording: the prelude and fugue from Bach BWV
> 995.
>
> Recorded with a cheap stereo microphone plugged into a video cam (sorry).
> Piece still needs a lot of work but I thought I would share my initial
> expe
On Oct 19, 2011, at 2:09 AM, William Samson wrote:
> I have heard that 'luth o cembal' was perhaps a keyboard instrument
> that sounded like a lute - I've even heard it suggested that it was a
> harpsichord strung in gut, but I very much doubt the feasibility of
> such an instrument - It
If your paper doesn't have "9 Chickweed Lane" you can catch the October 21
strip here:
http://www.gocomics.com/9chickweedlane/2011/10/22
It isn't the first time the lute family has appeared in it.
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I meant October 22, obviously.
On Oct 22, 2011, at 5:09 PM, howard posner wrote:
> If your paper doesn't have "9 Chickweed Lane" you can catch the October 21
> strip here:
>
> http://www.gocomics.com/9chickweedlane/2011/10/22
>
> It isn't the first t
On Nov 4, 2011, at 2:29 PM, William Samson wrote:
> Wasn't it Pascal who wrote "Sorry this letter
> is so long - I didn't have time to make it shorter".
Reverend fathers, my letters were not wont either to be so prolix,
or to follow so closely on one another. Want of time must plead my
excus
On Nov 4, 2011, at 2:58 PM, Ron Andrico wrote:
> Not Pascal but good old George Bernard Shaw, who also reviewed concerts with
> a certain measure of wit.
I've seen it attributed to Shaw, Mark Twain and Oliver Wendell Holmes, not very
specifically or reliably.
The Provincial Letters were a p
If anyone's being obscure, it's not Purcell. The poem is the 20th stanza of a
French poem, La Solitude A Alcidon
translated by the 17th-century English writer Katherine Philips, who published
under the name Orinda. You might want to look over the first 19 stanzas.
You can find the French and E
On Nov 8, 2011, at 12:34 PM, jsl...@verizon.net wrote:
> But isn't it really just a pun by Purcell on "Apollo's lyre"?
Yes (and now that you mention it, I wonder if "lyre" and "lore" would have
sounded more alike to Londoners in 1685 than they do to us), but a pun needs
two expressions that e
Christopher Stetson wrote:
> It also has been declared by someone to be Nigel Tufnel Day, after the
> member of Spinal Tap with the special amplifier which "has eleven".
For the few who might not know the bit:
Nigel Tufnel: The numbers all go to eleven. Look, right across the board,
eleven
You could try the "sound of one hand clapping" exercise: thrust the fingers out
to full extension and and then clap them into your palm. It's actually an
excercise to strengthen an speed up the extensor muscles, but it helps
circulation. So do jumping jacks, and drumming bongo-style on some co
On Nov 17, 2011, at 12:04 PM, Monica Hall wrote:
>> Light the end of one with a match. It will be obvious pretty quickly
>> if they are gut or synthetic.
>
> My guitar didn't go up in smoke when I tried it so presumably they are
> genuine. Sigh of relief.
I'm pretty sure that when he wrot
On Nov 20, 2011, at 7:07 AM, Monica Hall wrote:
> . I prefer the simplicity of a 13 course Baroque
> lute; and I tell no one that I string my 6th course in unisons- direct
> violation of Canon Law.)
A good many players seem to be unaware of such a law. At an LSA some years
ago, when loaded
Daniel Winheld wrote, rather virtuosically:
> Howard, you of all people should know that ignorance of the law is no excuse!
> But I did exaggerate. 6th course unison on a Baroque lute is only an
> equipment violation. Officer Ed Martin of the LSAPD pulled me over a few
> years and issued me a f
On Nov 23, 2011, at 12:22 PM, Monica Hall wrote:
> Sad indeed. she can't have been that old.
She was 69
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On Nov 23, 2011, at 4:30 PM, ml wrote:
> May I correct: she was born in 1948, so she was 63, not 69
15 March 1942, according to everything I've seen. See:
http://www.gramophone.co.uk/classical-music-news/montserrat-figueras-has-died
The Savall/Figueras website home page says "In Memoriam Mont
On Nov 25, 2011, at 5:04 AM, Anthony Hind wrote:
> Mathias
> I have unissons on the 5th course of my 7c lute, but octaves on my
> fourth, but perhaps I have missed something.
Only that your stringing is very unusual, if not unique.
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I'm looking for a picture of an early chitarrone which, instead of an extended
neck, had an extended body with two bridges (by one of the Tieffenbruckers, I
think). Can anyone direct me to one?
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On Nov 25, 2011, at 10:37 PM, Diego Cantalupi wrote:
> you can find a picture here, in my dissertation about chitarrone:
Thank you, Diego. I downloaded your dissertation months ago, but with my
limited Italian, it might have taken the rest of my life to get to page 38.
The instrument is even s
On Nov 26, 2011, at 6:51 AM, heiman.dan...@juno.com wrote:
> Pity that there does not appear to be a photo of the instrument on the
> website of the Kunsthistorisches Museum where it resides.
Maybe they think it's an embarrassment.
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On Dec 1, 2011, at 2:08 AM, Martyn Hodgson wrote:
> why would you wish to transpose the lute part at all?
I can claim no particular great expertise on the subject of transposition
motivation, but could it be in any way possible (and I know this sounds crazy)
that the idea of transposition comes
On Dec 2, 2011, at 12:29 AM, Martyn Hodgson wrote:
> Have you anything constructive to add to the exchange?
No; once you've told us that transposition is unnecessary because almost half
the singers who'd want to sing the music can do it without transposition,
you've said it all.
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On Dec 2, 2011, at 11:19 AM, Roman Turovsky wrote:
> And speaking of such truly accomplished singers as Karamazov:
> He tends to have 4-6 archlutes on hand, for various minute instant
> adjustments of performance.
I guess that works if you have a large car and are very generous in tipping
bagg
On Dec 2, 2011, at 1:44 PM, Roman Turovsky wrote:
> you know of the community's unease of accepting ET.
We're more accepting of it than Dowland was.
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On Dec 3, 2011, at 4:10 AM, Konstantin Shchenikov wrote:
> My friends and me have played a concert.
> Here is songs by John Dowland:
>
> http://www.youtube.com/watch?v=hcleEbnXqCM
> http://www.youtube.com/watch?v=ycL4JaKHY6s
> http://www.youtube.com/watch?v=1AB54nH3Zac
>
> What do you think abou
On Dec 4, 2011, at 11:08 AM, David van Ooijen wrote:
> I've noticed some lute songs become easier down a tone. Particularly
> Morley songs. I always wondered about his songs - were they written a
> tone lower but publisehd a tone up?
Remember that Morley did not play the lute. He said he had d
For those who didn't get my highly erudite reference, try this:
http://www.funnyordie.com/videos/d58d400423/spanish-inquisition-by-monty-python-from-greatest-comedy-sketches
On Dec 5, 2011, at 2:50 PM, wikla wrote:
> What is that? Tell us more what you know of the Dubuts, Howard!
>
> "Fear, s
John Dryden (or perhaps Nathaniel Lee, since Oedipus was a collaboration and it
isn't clear who wrote which part) wrote:
> 3. Till Alecto free the dead
> From their eternal Bands;
> Till the Snakes drop from her Head,
> And whip from out her Hands.
On Dec 13, 2011, at 2:23 PM, David Tayle
I've reproduced below the part of Oedipus we're talking about, because nobody
could make sense out of this discussion without it. It's a scene where
Tiresias and his daughter Manto are trying to raise the ghost of king Laius.
The parts in italics are sung (I don't know if the italics will come
On Jan 1, 2012, at 10:49 PM, Herbert Ward wrote:
> Stretching of strings between the nut and the peg is causing
> me severe difficulty in tuning -- I can turn the peg
> 90 or 120 degrees with no response in the pitch.
>
> Lubricating the nut is of course a possibility.
A necessity, if you can
On Jan 6, 2012, at 3:43 PM, Edward Martin wrote:
> I
> recall in rehearsals stopping, and inquiring why they did that. They
> responded that many of the individual violinists tuned sharp, "so I
> can hear myself", and they found that it was easier for them to play that way.
The usual answer
On Jan 6, 2012, at 4:17 PM, Edward Martin wrote:
>> The usual answer is "better sharp than out of tune."
> How silly is that? Playing sharp _is_ out of tune!
Well, it's a joke, but like much humor, it's based in experience. If the
orchestra is playing at 441 and the flute player comes in at
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