- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: 15 October 2003 00:17
Subject: The cost of lute music
snip
Boone was musical successor to the dichotic phenomenon Blind Tom,
who, though said to be semi-idiotic, repeated the most complex
Dear All,
It always happens, doesn't it? You don't buy a book because it's not central to your
interests, then years later you get interested in it and find it is out of print.
That's the sorry state I find myself in with respect to CNRS Corpus des Luthistes. I
have Mesangeau and Le Roy's
- Original Message -
From: David Van Edwards [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: 18 October 2003 20:45
Subject: Re: fret diameters
Dear Martin,
I was a bit startled by your contention that single frets are mainly
a modern usage
- Original Message -
From: Jon Murphy [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; lutesmith [EMAIL PROTECTED]
Sent: 22 October 2003 08:29
Subject: Re: Holbein, addendum
Maps and globes, maybe he ran out of paint or ran out of steam. Broken
strings, maybe the player had a broken string
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: 23 October 2003 00:39
Subject: Re: Lute as a vanity
snip
We have been discussing Holbein's Ambassadors of late. The most
significant feature of this painting is the extraordinary skull
- Original Message -
From: David Van Edwards [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: 23 October 2003 16:39
Subject: Re: Lute as a vanity
snip
You are right to remark on the extreme thinness of the strings of the
Berlin painting, it looks
- Original Message -
From: Herbert Ward [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 23 October 2003 19:48
Subject: How long can a lute last?
Excuse me if I'm raising an already-discussed subject.
Are there any good-sounding old lutes? Or do lutes inevitably decay, like
- Original Message -
From: Stefan Ecke [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 24 October 2003 09:14
Subject: splitted courses
Dear list members,
I wonder where in lute literature one find splitted courses.
That is, the two strings of a course are stopped at different
frets
- Original Message -
From: Stefan Ecke [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 24 October 2003 08:56
Subject: cleaning the lute soundboard
Dear list members,
I know that some people clean the sound boards of their lutes,
especially where the little finger touches it. What
- Original Message -
From: Craig Hartley [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 04 November 2003 09:27
Subject: CDs
I have recently joined this list after falling in love with Weiss through
attending a recital by Nigel North and then buying Robert Barto's Naxos
series. At
Dear All,
Veneering certainly can add strength, though with theorbo long necks you can also make
a strong light neck from a sandwich - a strong, light wood in the middle and hard
edges which taper as you you go up the neck.
Ebony veneer is much more popular nowadays than in the past - which
- Original Message -
From: Ed Durbrow [EMAIL PROTECTED]
To: lute list [EMAIL PROTECTED]
Sent: 08 November 2003 07:40
Subject: tying broken strings
The gut octave 4th on my alto lute was broken when I opened the case
today. It's been on since October 22, so that isn't all that long.
Dear All,
Veterans of this list may remember that some time ago we had a discussion about some
of the wierd notes in Dalza. Now that I am trying to write a short article on the
subject I have a few questions which I hope you can help me with:
1. What does the designation calata mean? I don't
Dear Denys,
Thanks - why didn't I reach for New Grove? I have it (the 20 yr old one) on the shelf!
Can anyone fill in any details of the later uses of the word calata - are they all
dance pieces, or are some of them song intabulations?
Best wishes,
Martin
And let's not forget that famous song by Thomas Campian, Never beat a weathered
snail.
M
P.S. or the out-take from a famous pop artist who sang I don't care about the
colour of his hair or the length of his skin
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 22 November 2003 09:13
Subject: My Berr 10-course
Dear lutenists
I have the S. Barber version of 10-course Berr. And as someone
wrote, the shape of the body is very beautiful. You can
see some
and alternating with either the note above,
or the note below, according to context.
My article reviews all the evidence from English and Continental sources on this topic
and includes discussion of all the graces (including vibrato, for example). It's a
big topic!
Best wishes,
Martin Shepherd
- Original Message -
From: Vance Wood [EMAIL PROTECTED]
To: lute list [EMAIL PROTECTED]
Sent: 23 November 2003 19:52
Subject: Re: ornaments in Board
Dear Stewart:
Thank you for your observations and understanding of this issue not to
mention the time and effort it took to figure
- Original Message -
From: Ed Durbrow [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]; lute list [EMAIL PROTECTED]
Sent: 24 November 2003 06:24
Subject: Re: ornaments in Board
I believe the + sign is a fall, usually a forefall (note below to
main note) or a double forefall
- Original Message -
From: Ken Brodkey [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 24 November 2003 16:16
Subject: string spacing
Hello,
I'm back to lute making after a very long absence and would like to get
people's opinions about string spacing, both at the nut and bridge. Is
Dear All,
At long last I have done a minor update on my site. There is a splendid new Piece of
the Month (a gremlin has dated it June 2003, but don't let that put you off), plus
some new photos in the catalogue sections for 7-9c, 10 11c lutes, and theorbo.
I hope you enjoy them - as usual
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 24 November 2003 10:07
Subject: Website update
Dear All,
At long last I have done a minor update on my site. There is a splendid new Piece
of the Month (a gremlin has dated it June 2003
- Original Message -
From: Herbert Ward [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 19 December 2003 16:16
Subject: Woodworking precision.
The joint where my soundboard is set into the bowl is perfect. Around the
entire perimeter, it is so tight there is no visible crack. I
Dear All,
I just got a leaflet advertising a guitar and lute making symposium organised by CMB
(www.cmbpuurs.be), containing the sentence:
Iedere dag wordt afgesloten met een Avondconcert-onder-het-lover, met vooraanstaande
muzikanten uit binnenen buitenland.
They translated this as:
Every
Dear All,
Following our discussions about pieces for beginners (well, all of us) the new piece
of the month can be found as usual at www.luteshop.fsnet.co.uk
You can now also access an archive of all the previous offerings by following the link
at the bottom of the page. Please let me know
Dear All,
I have just added pictures of a new 9c lute on www.luteshop.fsnet.co.uk/789c/9c.htm
I hope you like them!
Best wishes,
Martin
P.S. Please let me know if you have any trouble with the new piece of the month and
archive - there have been a few problems already but none so far which I
- Original Message -
From: Vance Wood [EMAIL PROTECTED]
To: lute list [EMAIL PROTECTED]; Martin Shepherd [EMAIL PROTECTED]
Sent: 04 January 2004 16:26
Subject: Re: new pictures
Dear Martin:
Very beautiful Lute. I notice that you have a doubled first course! I
thought I
- Original Message -
From: sterling price [EMAIL PROTECTED]
To: Stewart McCoy [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: 05 January 2004 04:25
Subject: Re: Double 1st
Weren't many re-entrant theorbos strung with a double
first? And especially bass lutes? I have been wanting
to
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 03 January 2004 21:47
Subject: Re: new pictures
- Original Message -
From: lutesmith [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 04 January 2004 17:45
Subject: Re: new pictures
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: 05 January 2004 16:24
Subject: Double 1st
Dear Sterling,
There seems to have been considerable variety in instruments known
as theorboes. Single or double strings on the fingerboard is
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: Monday, January 05, 2004 1:29 PM
Subject: Re: Double 1st (HIP message included)
On Sunday, January 4, 2004, at 02:47 PM, Martin Shepherd wrote
- Original Message -
From: Stephan Olbertz [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 17 January 2004 09:07
Subject: Re: Electronic Tuners
Erm, is there anyone on this list who tunes by ear? :-)
Stephan
Me, for one - and I guess just about everyone else. But I find the tuner
- Original Message -
From: Daniel Shoskes [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 21 January 2004 14:23
Subject: More on tuning
As an extension of the tuner/tuning discussion, my biggest frustration
is in the actual mechanics of tuning. For the strings with pegs closest
to the
Dear All,
Just a footnote - well-tempered is not the same as equal-tempered.
No one knows exactly which temperament Bach had in mind when he wrote the WTC but
there are some strong candidates amongst temperaments which were popular at the time.
The late John Barnes wrote an article in Early
junk
Dear All,
Sorry to sound dogmatic, but I must be brief:
1. It is incorrect to say that the English favoured unisons while the Continentals
favoured octaves - the reverse is quite explicitly stated by John Dowland in VLL (for
his full text see www.luteshop.fsnet.co.uk and look at lute strings
quality, of course...
Best wishes,
Martin
- Original Message -=20
From: Ed Durbrow=20
To: Martin Shepherd ; lute list=20
Sent: 05 March 2004 20:29
Subject: Re: Unisons or Octaves?
Hi Martin,
I took another quick look at your informative web site.
In the 1990s Mimmo
Dear All,
Sorry to bother you with these ramblings, but they do relate to lute music, really...
I just got a catalogue from a company which sells reproductions of, and items inspired
by, household and personal items of the past - jewellery, vases, dressing gowns,
garden ornaments etc.
Dear All,
The latest splendid fantasia from the Hirsch lute book is now at
www.luteshop.fsnet.co.uk where the front page now also has a picture (taken by Francis
with his new digital camera) of me cutting some tramlines.
I hope you enjoy it - all comments welcome.
Best wishes,
Martin
Dear All,
Thanks to Ron Andrico for pointing out a missing rhythm sign (bar 96, event 1, should
be a two-tailer).
I've fixed the copy on my site.
Best wishes,
Martin
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: 01 May 2004 13:49
Subject: Re: top two courses single on baroque lute
Dear Kenneth,
I can't answer the last part of your question, but just to clarify what you say about
the conversion
Dear All,
I'm not going to bore you with the gory details, but I've got into a mess
with my web site and email programs. The current situation is that it is
best to use the old website www.luteshop.fsnet.co.uk for the time being
(which has a few broken links which I will fix soon), and the
Ooops! This month's not-so-deliberate mistake was to have the wrong title
in the Fronimo file for Cara cossa - it said La Traditora, but is now fixed.
A new Piece of the Month for August will be coming soon...
Martin Shepherd
www.luteshop.co.uk
e: [EMAIL PROTECTED]
Temperament buffs might be interested in these links which appeared on the
French list:
- Original Message -
From: Bernard Azancot [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Sunday, September 19, 2004 10:44 AM
Subject: [luth-SFL] Tempérament
Vu sur la liste de la LSA ces 3 adresses
Dear All,
Goeran Crona has kindly pointed out an error in the fantasia by Ortensio
(Mertel's Cs and Es look very similar!) - bar 68, 6th note should be e on 5
not c on 5.
Thanks Goeran!
The copy on the site has now been corrected.
Best wishes,
Martin
To get on or off this list see list
Dear Stewart,
About 15 years ago I did a detailed study of this piece - if I can lay my
hands on it I will send you a copy. My memory of it is that the Siena
version is clearly more nearly correct than Attaingnant - as you say, the
A version has chunks missing (one of which occurs right in
Dear All,
I couldn't let this one pass without issuing a general health warning. The
kits, and completed lutes (the Pakistani lutes which have been discussed
many times on this list before) are all based on a design apparently created
by people who clearly know little about historical lute
Dear Ron,
I don't think you quite got the point of my previous message - the name of
the poor chap is Giovanni Hieber (yes, pronounced Heeber) and he worked in
Venice. The lutes in question are nothing at all like his one surviving 7c
lute, or indeed any other lute. And if you can tell me
' or am I thinking of Barley or Morley? - I
don't have copies top hand).
rgds
Martyn
Martin
ShepherdTo: Lute Net
[EMAIL PROTECTED]
[EMAIL PROTECTED]cc:
hop.co.uk Subject: Re
Dear Collective Wisdom,
Can anyone tell me where I can buy a copy of the Paris 1998 Proceedings =
(preferably the English translation) online?
Thanks.
Martin
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Ed,
A very interesting thread, this. I'm sticking my head a bit above the
parapet this time just on a point of information. A roped gut string will
always be a bigger diameter than a loaded string because it is less dense.
In fact it will also be bigger and more difficult to finger than
,
Martin
P.S. But I'd settle for just decent.
- Original Message -
From: Francesco Tribioli [EMAIL PROTECTED]
To: 'Edward Martin' [EMAIL PROTECTED]; 'Martin Shepherd'
[EMAIL PROTECTED]; 'Lute Net' [EMAIL PROTECTED]
Sent: Saturday, November 27, 2004 11:14 PM
Subject: R: thoughts on low
Dear Caroline,
I gather the string in question was a thin wound string - so the friction
over the nut could be considerable. When tuning any string it is important
not to allow the tension between the peg and the nut to get too high, so it
is best to lower the pitch slightly before pulling
Dear All,
Mimmo Peruffo has asked me to forward this message to the list - I haven't
read all of it myself yet, but I think it will provoke some interesting
discussion.
Best wishes,
Martin
- Original Message -
From: Mimmo Peruffo [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL
Dear All,
Can we get carbon and carbon fibre properly defined? I'm no
chemist, but the strings most people are talking about are PVF, whatever
that is, but I think it's as much related to carbon as I am (admittedly
a lot) - so we need to be a bit more specific here.
Martin
To get
Dear All,
As far as I know, all the talk about how wound strings dramatically
improved the lot of the poor lute player as soon as they were invented
(c.1660) is just wishful thinking. If there is evidence of the use of
wound strings on any kind of lute before the 20th century I have not yet
Dear All,
Thanks to RS for the information. Once wound strings started to be
used, it may well have been a matter of personal taste whether this or
that musician chose to use them (and still is today). But I would just
like to remind everyone that nearly all the lute music we play was
Dear Rob,
Mimmo Peruffo did a thorough study of the bridge holes in surviving
lutes and came to the conclusion that many of them were too small for a
solid gut string at the kind of tension we are used to. It follows that
the original strings were either at very low tension (Mimmo rejects
Dear All,
Just a few comments arising:
Thanks to all who responded to my question - I have replied to everyone
individually (at least that was the intention) but I thought you might
be interested to know where I'm coming from with all this.
It was soon after I started playing the lute around
Markus Lutz wrote:
It is necessary in my opinion to have the tablature as easy readable as
possible.
I agree - and modern spacing makes it much easier.
If one wants to play as historical as possible there's no other way than
playing from facsimile.
Hmm I haven't seen too many music
Markus Lutz wrote:
Indeed today we (at least I) are very used to read from sight.
As I do read very easily I never tried to play by heart.
Memorizing never was a favorite of mine.
Me too. This is my point - we are so used to taking information from
the printed page we don't give it a
Dear All,
Just a couple of corrections here:
Jon Murphy wrote:
Early strings didn't have the strength of modern
ones (in part due to the imperfections - the weakest link in the chain), nor
the ability to build mass by windings or loadings. So the lower strings had
less volume projection than
Oops - you're absolutely right. What's more, I seem to remember that
many people put the octave string on the bass side of the course.
Ron Fletcher wrote:
Hi Martin,
Has something changed? My 12-string has octaves on all but the 1st and
2nd. Four octave pairs and two unison pairs)
Best
Dear David,
Even if I could use my thumb like this it would only be an advantage to
do so if I were willing to play the other three notes of the chord with
fingers 2, 3 and 4 (rather than 1,2,3) and that I cannot imagine wanting
to do! (in fact contrary to what Vance said about using the 4th
Dear Stephan,
I think some of us here might want to disagree with your last sentence:
the basic tuning of the Dm lute is f'-d'-a-f-d-A, so if (as you say) ET
was needed for this tuning, it would also be needed for Ren lute, since
the 2nd to 4th courses are tuned the same. Using meantone
Dear Joseph,
Most of the wear marks on old lutes are behind the bridge
Martin
Joseph Mayes wrote:
The (I think ) majority of contemporary lute players do some sort of
pinky-resting with the right hand. They point to lots of iconographic
evidence to support this practice.
When one buys
What about ren lutes?
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Friday, March 11, 2005 2:51 AM
Subject: Re: historical pinky off ??
Dear Joseph,
Most of the wear marks
Ooops, sorry I forgot the list doesn't do attachments. If anyone is
interested, I can email the pictures privately.
Martin
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear All,
I looked at the picture last week, but I remembered counting 12 pegs in
the lower pegbox and 8 in the upper - 6 double courses on the
fingerboard and 8 single basses, no?
Best wishes,
Martin
[EMAIL PROTECTED] wrote:
The fact that there are no frets on the neck suggests strongly
Dear Taco and All,
Preferred sring tension obviously varies a bit between people. I find
40N OK for a single top string on a 60cm lute, dropping to about 30N for
(double) second course and 28N for most of the rest.
Opinion amongst modern stringmakers seems to be that the thinnest string
Dear Ed and All,
I wouldn't describe the 9c lute as something of an oddity! There's
probably more music for 9c than for 10c, and it was obviously very much
in evidence in England. Just to name a few sources: Francisque (1600),
Besard (1603), Dowland (1604 - Lachrimae), Dd.9.33, Dowland (1610
Dear All,
Ooops, I said the subject doubled in speed, I meant halved. If you play
it as written in VLL, you get the first seven notes of the subject in
crotchets, then the last two in minims. If you add a minim rhythm sign
at the beginning of measure 35, the subject stays the same speed
Dear Goeran and All,
The Piece of the Month isn't dead, just sleeping...
I'm hoping to revive it in the autumn, when I've finished dealing with
the hundreds of tasks I have on hand, not all of them lute-related, alas.
Best wishes,
Martin
G.R. Crona wrote:
On 4/27/05, Martin Shepherd [EMAIL
Dear Steven and All,
I assume we're talking about the version in the Board lute book.
Margaret Board used the dot sign where most other scribes used the #
sign (some other later scribes used the same convention, e.g., Thomas
Mace). There are no complete certainties in the matter of what
Dear Tom,
I guess not many people weigh their lutes, but the weight of individual
components is something I record as I build lutes, so I have quite
detailed information going back many years.
In looking at these records, one thing is immediately apparent - the
main source of variation in
Dear Stewart,
Thanks - that's very interesting. Piccinini says (Cap. XXXI):
Le Tirate segno dello Strascino, si faranno come ho gia deto di sopra
nel Cap. XXV. e li gruppi similmente strascinati riescano assai bene, ma
sono però inscipidi, e perciò a farli con un deto si come pur si è detto
Dear All,
Michael Lowe told me recently that he thought luthiers spent the first
30 years of their working lives making lutes, and the second thirty
years adjusting actions
Best wishes,
Martin
Ed Durbrow wrote:
Herb,
There is more to it than that. Your description assumes that the top
understood the importance of displacement to the fingerboard
rather than just to the top of the fret..
Again, we should always aim to refer to historical information if we
are to approach what they expected.
rgds
Martyn
*/Martin Shepherd [EMAIL PROTECTED]/* wrote:
Dear
Dear Timothy,
I'm glad to hear you managed to solve the problem. You could also have
replaced the fingerboard with one which was thicker at the nut end. I
agree that trying to remove the neck and reglue it is an absolute last
resort.
Best wishes,
Martin
Timothy Motz wrote:
Michael,
No,
Dear All,
It might also help in those pieces where the final chord looks like a
first inversion:
___
___d___
___d___
___a___
___
___c___
because it would be easy to play just the upper octave of the 6th course.
Best wishes,
Martin
Wolfgang Wiehe wrote:
Hey arto,
i assume, that this
Peter Weiler wrote:
I do have a lot of trouble getting double fret knots tight for anything
greater than, say, 0.80 mm fretgut though.
-Peter
Er - what did I say Dowland's biggest fret diameter was?
Best to all,
Martin
To get on or off this list see list information at
Dear Arthur,
Francesco is about to release the new version of Fronimo, which should
be even better than the current one. I find it very easy to use and
(perhaps strangely for a tab program) very good for staff notation. I
often use it to create scores incorporating lute tab for three or four
Dear Stewart,
I'm in total agreement here. There are two further points:
I like to use the 3rd finger rather than the 4th for notes on the 4th,
5th and 6th courses, because the strings are thicker and easier to hold
with a thicker finger, also because the 4th finger is so often needed on
Dear All,
Due to the death of its owner, one of my lutes (made in 2004) has come
up for sale:
Six-course lute after Warwick Frei, 69cm string length, suitable for
tuning in E or F. Figured sycamore back, pear neck and pegbox, plum
pegs, box bridge and fingerboard.
Photos can be seen in the
Dear All,
With reference to my previous message: don't look at my website yet,
I'm having trouble with updating it, so the pictures of the lute in the
for sale section are of the wrong instrument! I'm working on it
any Filezilla experts out there are welcome to give advice (I've somehow
.
At the moment I have only five lutes and one theorbo, but I'm hoping to
add a couple to the collection when time permits.
Spring, aus dem, Rainer wrote:
One 10 course Renaissance, Martin Shepherd
One 8 course Renaissance, Martin Shepherd
One 6c guitar, Imai
Schnuddel, a 7.0 Kg Maine Coon
Kischi
Dear All,
John Robinson is hard at work on a facsimile edition of the Mylius lute
book - or is it the Thysius? I can never remember which is which - so
it might be worth asking him about it: [EMAIL PROTECTED]
Best wishes,
Martin
Thomas Schall wrote:
Hi Daniel,
I'm not sure but I would
Dear All,
Having been involved in performing some of this music when Jon was
developing these ideas, I am also convinced by his arguments and I have
to say we lutenists have really been missing a trick here. The music is
truly excellent, by some of the best composers of the age (Isaac comes
,
As these pieces come from the Segovia Catedral MS, is it more likely
that the pieces are intended for vihuela ensemble, as opposed to lute
ensemble?
ed
At 02:05 PM 10/9/2005 +0100, Martin Shepherd wrote:
Dear All,
Having been involved in performing some of this music when Jon was
developing
Dear Stuart and All,
When Jon Banks gave a talk to the Lute Society a few years ago, Matthew
Spring played the gittern, Stewart McCoy played the G lute, and I played
a D lute. When we were rehearsing for the concert, I started playing
the bass part on a G lute but found it extremely difficult
Dear David,
Having studied with the late Robert Spencer at roughly the same time as
you, I too wish he were still here to ask
But I think the plural noun commonly took a singular verb form in
Elizabethan English. Sorry I can't (at the moment) come up with other
examples or references,
Dear All,
It seems I am now back, up and running (well, walking, creeping?) again:
website: www.luteshop.co.uk
email: [EMAIL PROTECTED]
Apologies for the interruption, entirely due to my web hosts who so
kindly cut me off without telling me...
I'm hoping to update my website and get back
Francesco Tribioli wrote:
When I went to collect the new marvelous 6c that Martin Shepherd
built me, he showed me that the two main chains under a Renaissance top
where not parallel but slightly angled. I think that this was done to
counterbalance the effect of reinforcement
Dear All,
Sorry to bother you with this but I can't seem to access old archives
which I know contain suggestions:
I'm interested in exploring the possibility of using a PC to make good
quality lute recordings and want to know what kind of mic to use and
which (cheap or free) software for
Daniel Shoskes wrote:
with Edin Karamazov sitting on lute and archlute.
Is that why there are lots of nasty noises?
Couldn't resist...
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Dear Daniel and All,
I think most people would agree with Bob Spencer's (1976!) article that
there are two things called archlute. One is the Italian solo lute of
the 17th century, typically 58/85cm with 14 courses (*all* double,
according to surviving examples). The other is the continuo
Dear All,
I got a phone call out of the blue the day before yesterday asking me to
appear (must be the wrong word, but I combed my eyebrows anyway) on
local radio. I answered a few questions about the lute and played a
couple of pieces. It was clear that the Sting effect is beginning to
don't have to hand.
Best wishes,
Martin
[EMAIL PROTECTED] wrote:
Hi,
I think this is maybe something that hasn't been spoken about so much here.
Last weekend I got a lovely new 10 course lute from Martin Shepherd.
It has a 67.5 string length and it tuned in F or G at 390, however you want
Dear All,
Sorry if you get this twice - this is the second attempt to get it to
appear...
Here are some thoughts which relate to this topic:
A couple of years ago I took my 6c lute with me when I went to Corsica
for two weeks. While I was there I just played it, without checking the
pitch.
experience.
Best wishes,
ed
At 10:18 PM 11/28/2006 +, Martin Shepherd wrote:
Dear All,
Sorry if you get this twice - this is the second attempt to get it to
appear...
Here are some thoughts which relate to this topic:
A couple of years ago I took my 6c lute with me when I
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