On Sep 22, 2007, at 10:47 AM, Anthony Hind wrote:
> a bass lute by Michael Lowe ...
>
> He reported that, before they are put on the lute, these strings are
> about 9" long. They must be extremely elastic, and it is probably...
Do I sense a gentle tugging of my lower extremities?
Sean
To
he final tension, and that Remi
> Cassaigne should beware.
> Best regards
> Anthony
>
>
>
>
> Le 23 sept. 07 à 07:36, Sean Smith a écrit :
>
>>
>> On Sep 22, 2007, at 10:47 AM, Anthony Hind wrote:
>>> a bass lute by Michael Lowe ...
>>>
>>
gt; feraud.instrumentsmedievaux.org/text/cordes.html
>
> Best regards
> Anthony
>
>
>
>
>
> Le 23 sept. 07 à 17:09, Sean Smith a écrit :
>
>>
>> Dear Anthony,
>>
>> I can appreciate the mystery of where or when it would stop
>> stretching.
>
t; he adds.
As for getting it through the bridge hole it should be quite easy:
Stretch to the appropriate diameter and then cut it in the middle.
Science really isn't as hard as it looks.
Sean
On Sep 23, 2007, at 11:30 AM, [EMAIL PROTECTED] wrote:
> On Sun, Sep 23, 2007, Sean Smith &
On Sep 24, 2007, at 1:57 AM, Anthony Hind wrote:
> Sean and Dana
> I think you must both be correct (in a way). I have not experimented
> this, but in my mind I see myself stretching a piece of rubber band
> held between two fingers of both hands,.
> In between the hands the rubber band wil
> lute string and the thinner pulling string (which I suppose you could
> attach to your leg
). I did say from "tip to toe".
>
>
>
>
>
>
>
>
>
> Le 24 sept. 07 à 14:50, Roman Turovsky a écrit :
>
>> The number of all the enticing possibiliti
So far, the lute has been my favorite "unusual wind instrument" but now
I'm curious to take up what he thinks we play.
Sean
On Oct 6, 2007, at 8:31 AM, Martin Shepherd wrote:
> Dear All,
>
> A little gem from:
> http://www.recorderhomepage.net/galilei.html#Ricercares
>
> "None of this is a pr
My monitor is on a wooden stand (originally intended for a water
dispenser) beside the honest music stand. I input using the small
laptop screen and play off the other. Using a 20" widescreen LCD and
Print Preview, the type is larger than what comes out on paper.
Unfortunately I'm limited to
Must be a baroque lute. Mine tunes in 4ths.
On Oct 16, 2007, at 8:00 AM, Ron Fletcher wrote:
Basses are tuned in seconds!
Ron (UK)
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: Tuesday, October 16, 2007 9:31 AM
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: L
Dear Joshua,
My father bought one in Montreal long before I was born. I remember
when I was seven or so really wanting to play it when I grew up. I took
a few classical guitar lessons on it in high school but it never really
projected and the spacing was pretty tight though I got used to it.
How about
Harke all you ladies that do sleep
The fairy queen Proserpina bids you awake
and pite them that weep,
You may do in the dark what the day doth forbid,
Fear not the dogs that bark;
night will have all hid.
#19 in the Rosseter/Campion book, 1601
Sean
On Oct 31, 2007, at 5:00 PM, Mat
We luters have it pretty easy worrying only now and then about our h's
and k's. Pity the polite citternist who must mind their p's and q's.
Sean
On Nov 4, 2007, at 11:42 AM, Alan Hoyle wrote:
For what it's worth...
Perhaps the difference is that we lutenists daren't take our eyes off
the
Dear Michael,
Italian tab is indeed learnable. I put it off for 20 years and then
lived it with it exclusively for a week and found it no biggy. I
started with single line pieces such as Francesco's canon and then
worked my way into dances w/ simple bass lines and then on to the
ricercares. E
Digital calipers have gotten mighty cheap lately --especially from
Harbor Freight. I like mine but all those hard, sharp edges always make
me nervous. A small 1-inch (2.4 cm?) micrometer admittedly fits so much
nicer and safer in hand but you can't measure fret heights.
Sean
On Jun 15, 2005,
On Jun 19, 2005, at 9:20 AM, Craig Robert Pierpont wrote:
>We obviously have a difference of opinion here. I would be
> interested to see Martyn's historical evidence.
The lute in Holbein's "The Ambassadors" very clearly has doubled frets.
As realistically as this painting is done I believ
>
>
> The only possible way that double frets could work is if the fret
> closest to the nut was slightly lower than the other, allowing the
> string to
> make contact with the crest of the higher fret. Otherwise you have big
> intonation problems.
>
Michael,
The ridge closer to the nut qui
Michael,
Unfortunately I no longer have the blow-ups from the Ambassadors on my
hard drive. Perhaps if Gernot Hilger still has them he could send you
one. If not, I could rephoto the picture I have. There is no
uncertainty there.
Gernot?
Sean
On Jun 19, 2005, at 3:29 PM, Michael Thames w
Thanks Gernot! And Peter, I knew there was another Holbein that
depicted double frets. I just couldn't remember which.
thank you.
Concerning the Poulton/Dowland image. Perhaps it was overkill to double
the frets on a small lute. So far it hasn't been worth it to "double
up" on my descant.
Sea
> Would it be safe to
> say that the second fret prevents the courses from sliding around so
> much?
I wouldn't think so. I just tie them tighter'n a fratboy on St. Paddy's
day.
Sean
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Stability is good word. Somehow, too, it requires less effort. W/ a
single fret you feel the string bend behind the fret and you want to
touch bottom.
I remember playing an orpharion w/ scalloped frets and it seems to take
these ideas to the next level. Bending the string behind the fret would
There are a few frets that would take a while to wear down because the
are used so seldom (such as the 5th course 1st and 6th frets) that it
might be better to take a gentle file to the nutside.
Sean
On Jun 21, 2005, at 4:39 PM, Peter Weiler wrote:
> JAS wrote: " But this means all those ela
Interesting idea, Chad. I had always thought the energy of the string
was transmitted to the body through the bridge but it makes sense that
some energy must go to the stopping fret as well.
There is the view that the lute should be held as loosely as possible
and a lesson with Ronn MacFarlan
A strong ditto here.
It's a long difficult puzzle to see the ingenuity and scope of the lute
in its many centuries. I know that if Arthur does make conjectures he
has, at least, done the research to back it up --and, more often than
not, among the primary sources.
And now I feel a little out-
sfer files between Fronimo and Stingwalker,
> and the flip tablature function allows you to solve the problem you
> describe.
>
> Best wishes,
>
> Stewart McCoy.
>
>
> - Original Message -
> From: "LGS-Europe" <[EMAIL PROTECTED]>
> To: "Lute n
and the
> vertical is more apparent than the horizontal, at least to my ears.
> I concede that one's ability to pick out the notes of La Spagna is
> determined by how well one is familiar with that tenor.
>
> All the best,
>
> Stewart.
>
>
> - Original Me
On Jul 31, 2005, at 6:45 PM, Mathias Rösel wrote:
> "Sean Smith" <[EMAIL PROTECTED]> schrieb:
>> The Spagna by Francesco is a different animal from most spagnas that I
>> have seen.
>
> a while ago, Stewart and me had a little chat about the Spagna.
>
>
> The vihuela quartet is forming. does anyone have a good idea
> for a
> name for a vihuela quartet? Please, do not call it the "vihuela
> quartet".
>
> ed
>
How about ...
Dr. Damano and his 4 Instruments of Mystery!
Sean
> At 06:48 PM 8/1/2005 -0400, Arthur Ness w
Stephan,
There are also the many decorated vocal lines decorated by dalla Cassa,
Bassano, Bovicelli, Rogniono and others, mostly for viol but acceptable
on other melody instruments. These date from the late 1500's to the
early 1600's. Very good modern editions are published by London Pro
Musi
1584 ed. Are there other
contrapunti in it as well as the BM works? This has been very difficult
to find!
Sean Smith
On Aug 18, 2005, at 5:39 AM, Arthur Ness wrote:
> Bernardo Monzino is Francesco's brother. Dinko Fabris rejects the
> possibility that he might be B.M. due to chronology
Aha! The perfect answer! I rarely go to the LSA page --more fool me.
Thanks Arto,
Sean
On Aug 18, 2005, at 6:26 AM, Arto Wikla wrote:
> Dear Sean,
>
>> I'm not sure I've seen references below to the earlier edition of Il
>> Fronimo (I'm sorry I don't know the publ date --my HMBrown resides at
Another 20-lb maine coon cat --I'm expecting a good string harvest
someday-- a bunch of 6-c lutes of various sizes and a renaissance
guitar.
Sean
By the way, Arto, this is the week when the tarantulas wander the
hilltops in mid-coast California. Quite a sight, especially if you're
not expect
Hello Stewart,
There is, indeed, a lot of music in the 15th century; much of it
instrumental but defining what _is_ lute music is tricky since no one
wrote on the page, "this is lute music". What the Segovia has that may
be considered lute music is of the tenor/contrapunto variety. Ie, the
te
Dear Stewart,
You're right about the tablature being a speed bump to the
interpretation of this music. Tab's strength is in bringing many lines
together with a predetermined key added to a trust that the intabulator
knows what they are doing. It's often a toss up in difficult spots
which voic
Ed,
When I was comparing pictures last spring w/ Roger Blumberg I noticed
frequent pairings of a vihuela d'arco with a vihuela da mano. This
would suit the tenor/contrapunto arrangement.
Sean
On Oct 9, 2005, at 9:33 AM, Edward Martin wrote:
> Dear Martin,
>
> As these pieces come from the Se
>
G'day Craig and all,
>
>> A few weeks I had a concert with my renaissance ensemble in a theater
>> and the hot spotlights gave me extreme tuning problems with metal
>> strings of my cittern, but my lutes stayed well in tune.
>
> Now there's a testamonial one rarely hears about lutes. ;)
Given
Hi Craig,
Roped would be the 2- or 3- strand gut bass strings sold by Aquila
("V-gut"), Dan L and others. I would definitely choose this over the
loaded gut but I haven't tried the gimped versions yet.
I'm not sure how gimped strings apply to pre-1580 music. I do know that
Ed Martin and other
>
> Aren't there versions of songs in the Pesaro-Ms?
>
> Thomas
Not of the Parisian-chanson/Attaignant variety. As far as I know most
of the early Sermisy material comes from the Attaignant or Moderne
presses. There may be some in mss. and it might be best to check the
concordances in the Colle
>
> But the nature of musical performance was changing.
> The best of Claudin de Sermisy's chansons seem to
> have been incredibly popular all over Europe - in addition
> to their innate tunefulness, at least part of that popularity
> must arise from their capacity to be performed in
> different wa
Thomas,
The songs are fun and you get to decide fast or slow, heavy or light.
There are two books in this group available from Minkoff: Libro Primo
1509/1977 and Libro Secundo 1511/1982. Were there some specific songs
you were looking for?
Each have a handful of short ricercares on the back p
Roger,
Thanks for putting these out for us!
Concerning:
http://www.thecipher.com/braccio-
viol_MadreDeDeusRetable_early16th_deta.jpg
Does this count as a trio or a quartet? (a quintet if the closest
person is singing?) The idea of a pipe-and-drum player is well known
but I hadn't heard of
his traditional instrument, that has been
> in existence since the middle ages.
>
> Bruno
> lutenist and various medieval instruments player
> www.estavel.org
>
>
> Sean Smith wrote:Roger,
>>
>> Thanks for putting these out for us!
>>
>> Concerning:
David,
http://www.omifacsimiles.com/mgencatalogs.html
Click on Lute/plucked. Campion is on p. 4
Best wishes for a good new year to all,
Sean
On Dec 31, 2005, at 2:19 PM, David Rastall wrote:
> Are the lute songs of Thomas Campion still available in print? What
> about commercial editions of
I'd say the bridge placement and shell's wood choice and spacers look
WV as do the inlaid frets. On the other hand, the depth of the shell
and lack of the funky endclasp make me wonder. Interesting pegwork on
the 1st and 9th courses. Weren't WV strings traditionally held behind
the bridge
, OSX 10.3.9)
many thanks in advance,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
odern Borono or Spinacino book in
Italian. The A-R Terzi book is in Italian and so is Arthur Ness' Francesco.
Sean Smith
dc <[EMAIL PROTECTED]> wrote: Vance Wood écrit:
>Most modern editions you find in print will use French Tab unless they are
>facsimile editions
From this perspective, what should we make of Thos. Campion's Maske of
Flowers where nobility acted out and sang the parts?
Sean Smith
Herbert Ward <[EMAIL PROTECTED]> wrote: > The social stigma attached to acting
had to do with its lowly origins,
> a sort o
ad for the descant lute at pitch and
then get all those sycopated rhythms going. (And then the recorder
player brings out his Machaut book and my brain explodes!) I still
can't read as smoothly as tab but it's coming along.
all the best,
Sean Smith
On Feb 16, 2006, at 1:19 PM, Stuar
Hi Stuart,
>
>> A player w/ a 5 or 6 course lute could play at least any
>> two single voices of a composition and would have been useful in
>> consort (as well as part of a duo or a soloist and would probably have
>> been expected to be all three).
>>
>>
> This wouldn't be so easy playing with a p
ens for
single lute and despite the monstrous fingering challange it was easier
to count than playing single lines!
> When considering what music we should play on the lute, it is worth
> bearing in mind that we shouldn't restrict ourselves to music
> notated in tablature. Music in staff n
Daniel,
One thing that may be helping and is often overlooked is the thicker,
half-round neck shape. When I play a friend's 8-c nowadays that throws
off my sense of where my left fingers are in relation to my thumb as
much as anything else.
Sean
On Feb 18, 2006, at 1:15 PM, Daniel Shoskes w
te on either side it was far more effective and easier to understand
from the audience's point of view (the stereo effect helped immensely
as well as seeing who did what) than one lute accompanying her.
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Dear Stuart,
From our modest first forays into reading this rep. I've found that
different size lutes help in the following ways:
a) They put the 'voice range' of the line in the center of the lute
fingerboard. When we consider that they probably didn't have roped or
great strings for the bas
My "bass lute" is only 68cm in string length. I put beefier strings on
it (ie, 6th course = ~1.62mm gut), tune it to D and it works fine.
Btw, a 6c A-lute is very nice but if you really want to enjoy a
sustaining voice, go long.
Sean
On Feb 20, 2006, at 7:29 PM, Daniel F Heiman wrote:
> The
ing them SO much
easier. These are very decorated versions of 3-voice chansons so
perhaps w/ less decoration 4-voice songs were also possible.
I suspect that what we don't know about this era and the lute would
fill a very educational book.
all the best,
Sean Smith
ps, sorry if this is a d
On Mar 12, 2006, at 10:50 AM, bill kilpatrick wrote:
> in a previous post from arne keller - no subject was
> given but he was asking for notation advise - he says
> that according to tinctoris, there was a change from
> playing the lute with plectrum to plucking it with the
> fingertips during t
htly) offers it in mensural notation --as it was
in contemporary sources. You tune your lute as you see fit.
all the best,
Sean
>
> On 3/11/06 1:03 PM, "Sean Smith" <[EMAIL PROTECTED]> wrote:
>
>>
>> Dear Arne,
>>
>> I was just looking at Tinctors&#x
rse: 1st fret, 2nd, 3rd --but _never_ open. Both solos and duos
>> (ok,
>> the only duo superious that uses the 6th open is De tous biens playne,
>> hmmm). Any ideas for this folks?
>>
>> In the new book of Consort music recently published by the Lute
>> Society, Jon Banks
ck?
I've often seen vihuelas w/ 10 tied frets and my ren guitar has 11.
Maybe that was the waisted instruments' lure
Sean
On Mar 12, 2006, at 2:03 PM, Stuart Walsh wrote:
> Sean Smith wrote:
>
>> I think some pieces in Spinacino are modified 5c reductions since they
>
cking works nicely on
> adjacent strings. That's a case where up-down-up-etc can get a little
> funny
> with beat emphasis. It can be tricky, but it can also make things a
> little
> easier. Good to mark the music to learn it.
>
> Leonard Williams
>
> On 3/12/06 3:33 P
One could imagine the teeshirts of dancing terrapins (holding lutes)
from an LSA seminar a few years ago as an homage...
Sean
On Mar 15, 2006, at 7:05 AM, Craig Allen wrote:
> Herbert wrote:
>>
>> Typing "early music festival" into Google gives me the impression
>> that there are, perhaps, 15-
This is in his Regola Rubertina (1542). I'm sorry, Ed, I don't have it
in front of me for the details.
Sean
On Mar 16, 2006, at 3:14 AM, Ed Durbrow wrote:
>
> On Mar 13, 2006, at 6:23 AM, Sean Smith wrote:
>
>> Ganassi (c1530) give lots of
>> different different
It was a poor imagination that could think of but one way to spell a uuord.
Sean
guy_and_liz Smith <[EMAIL PROTECTED]> wrote:
Oops. Didn't read it very carefully. I think the extra s's are just archaic
usages. English spelling wasn't very systematic back then.
- Original Message ---
Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and alternately
wondered if
Dear Stuart,
Thanks! I've been tuning my descant lute to C and it sound like an easy
jump over to the guittern --when I get around to getting one. That
tuning makes a lot of sense. Do I understand the lowest string to be a
5th below its adjacent course? Btw, are these unison tunings? Is that a
Thanks Daniel,
It seems that instruments with *parallel* strings often got more frets
on the neck. I'm thinking of guitars but this extends to citterns too.
Another parallel is that these are strummable instruments. Am I reading
too much into this?
Talking to Andy Hartig (shameless plug:
htt
On Mar 26, 2006, at 11:59 AM, [EMAIL PROTECTED] wrote:
> ¥ªí×~öÛôuõçÎ kÞº.Ö«È*'µéíO*^ém«·ö¥µêçjدyº.Ö«
>
This is what my playing sounds like w/ nails.
Sean
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
t building
the lute mold is almost identical to building a half model (where the
carpenter would take his lines and measurements) except one only builds
half a hull. Like a lute mold, the half model is used over and over.
Sean Smith
On Apr 3, 2006, at 6:20 PM, [EMAIL PROTECTED] wrote:
>
I'm glad you liked the issue, Arto. I couldn't find any lute-playing
tarantulas. ;^)
Sean
Arto Wikla <[EMAIL PROTECTED]> wrote:
Hi gang,
thanks for the LSA Quarterly "I No.1"! The interview of R. Savino
is very interesting! I was so pleased of Richards's comment on his si
se it would be invisible in most
iconography. (my old Vandervogel lute has one, too)
Has anyone tried this? Was it successful?
Sean Smith
Vance Wood <[EMAIL PROTECTED]> wrote:
You are a funny man David. Levitateing Lutes, whoever heard of such a
thing-would
I would imagine he uses a "thumb [6 feet] under" technique here.
Ed Durbrow <[EMAIL PROTECTED]> wrote:
I was surprised to learn Pat O'Brien has been playing with Cannibal
Corpse since 1997.
http://en.wikipedia.org/wiki/Cannibal_Corpse
:-)
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http
Cufflinks are fine --provided they don't flash, rattle or mar the
finish. It's sausage links that are frowned upon.
Sean
On May 8, 2006, at 8:40 PM, Edward C. Yong wrote:
> Hiho Chaps,
>
> Greetings from Singapore! I've been off the list for some years, but
> am back
> now - ready to learn m
Sounds like a good line-up to me: got the early and late covered, the
long-time players, the johnny-come-latelys, serious big names, great
teachers and some seriously above-average concerts from names you've
always wondered about.
Then there's the other folks who show up: folks who ask good qu
ion is roughly 60/40 Ren/Baroque. There should be more
> than enough in the way of courses to keep you occupied unless your
> interests are extremely narrow. The usual problem is having too much
> to choose from and too little time.
>
> Guy
>
>> - Original Message -
Frets, like fruit, go bad but we usually catch them before they go
rotten. ;^)
I suspect they have worn to a fairly flat surface. It's the pristine
round surface that gives the best, cleanest tone and transfers the best
vibratory energy to the neck (there was a nice thread about this last
yea
Hi Gary,
I've always thought that about the Humorous Pavan, too. It certainly
fits with his 'humor'.
Sean
On Jun 1, 2006, at 3:38 AM, gary digman wrote:
> Stewart;
>
> Not to mention 37, 38 and 97. Number 43 "A Humorous Pavan" always
> sounds to me like it has some "Flow My Tears" in it
a candle or something hot)
_before_ moving it up to its permanent address. Wouldn't this keep the
knot tight as it moves?
A good topic to bring up now and then. A lutenist's dexterity ain't
just for the notes!
all the best,
Sean Smith
> good luck
>
> --
> Dan
the wound bass strings however.
Perhaps apropos, last week at Cleveland, Toyohiko Satoh pointed out
that his top string was cow. The rest, sheep.
Good luck,
Sean Smith
On Jul 9, 2006, at 11:45 AM, Mathias Rösel wrote:
> "Steve Bryson" <[EMAIL PROTECTED]> schrieb:
>> H
I wonder if the 1560 model replaces the previous 1553 version.
Sean
Edward Martin <[EMAIL PROTECTED]> wrote:
Incredible!
ed
At 06:09 PM 7/14/2006 +0200, LGS-Europe wrote:
>When looking for info on Paladin's publication of 1560 I chanced upon this:
>
>Paladin 1560
>COAX CABLE T
"or other 16th century compilers"
That covers a lot of ground, David, namely most every amateur who kept
a notebook of things he or she copied from other printed books and
notebooks or even stuff he or she intabulated or came up with.
I'm looking at the cover of Andrea Damiani's Vincen
After Phalese stopped publishing his anonymous lute settings there
seems also to be a dialogue between the English and Adrianssen too.
Light of Love is nearly identical in Ad (Saltarello Englesa, 1584) and
the Board book. Conversely, the Pickering Battle duet borrows many
devices from A's dan
e de
> Tabulature
>de Leut (Paris: Fezandat, 1555).
>
>Best wishes,
> Ron Andrico
>[EMAIL PROTECTED]
>[2]http://www.mignarda.com
>
>
>__
>
> From: Sean Smith <[EMAIL PROTECTED]>
> To: Lutelist
27;ll only attract the finest
audience. And I'm sure the others would enjoy it too.
Face it, there is a sensual side to this music. When I chose a recent
cover for the LSA Quarterly I didn't realize the possible double
entendre but probably would have gone with it anyway.
all the best,
BM in the
Fronimo or perhaps an addition to an existing canzona, chanson or
madrigal.
Would anyone have information on this?
thanks in advance,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Sorry, Donatella, I blame Hollywood. They had a great plan for a TV
show, then they spelled the title wrong and there were no German lute
players. Ever!
Sean
On Aug 10, 2006, at 10:13 AM, <[EMAIL PROTECTED]> wrote:
> Can you guess how Weiss was spelled by someone here in California,
> where
Not only is nylon completely authentic but one eliminates all traces of
gut afterward!
s
On Aug 10, 2006, at 11:41 AM, EUGENE BRAIG IV wrote:
> - Original Message -
> From: Caroline Usher <[EMAIL PROTECTED]>
> Date: Thursday, August 10, 2006 10:06 am
> Subject: [LUTE] Francesco da Milan
Lately I've been knee-deep in the Marsh book but, lo and behold, there on p.
98 and again on 228
Got my pizza fixin's ready, Persieds lined up under a full moon (alas) and
we're good to go. Probably the closest I'll get to fishing is deciding against
the anchovies.
Sean
Very nice, Chris!
and congratulations on the solstice(-ish) arrivals.
s
On Dec 24, 2009, at 8:14 AM, chriswi...@yahoo.com wrote:
Hi all,
Its that time again - time for eggnog, fruitcake, extended time with
extended family, desperate last minute trips to the mall... and of
course, theor
I haven't seen any modern editions. Are you looking for any pieces in
particular?
It's a pretty legible book but hard to find.
Happy New year, Leonard --and all ;^)
Sean
On Jan 4, 2010, at 3:25 PM, Leonard Williams wrote:
Does any body know of a good edition of the Board Lute Book?
Mo
Aha! Thanks Rainer --and Wolfgang!
On Jan 28, 2010, at 1:50 AM, Spring, aus dem, Rainer wrote:
Has anybody mentioned that the Paladin tablature book mentioned
yesterday is bound together with Bianchini?
Best wishes,
Rainer aus dem Spring
IT Application Services
Tel.: +4
I counted up the pegs and got a 9-c lute: treble rider (w/ broken
chanterelle)+ 6 courses on the main pegbox and 2 doubled courses on
the extension. Otoh, it might be 3 doubled courses on the extension
making it a 10-c, tho. 10 frets on the neck. Fitting for the time and
perfect for Ball
Something else comes to mind about the curious pegboxes. If one was
updating a 6-c for 9/10 courses, it would make sense to reuse the old
6-c pegbox. That would explain the different angles. Yes, the neck
would be new as would be the extension pegbox but why remake the other
pegbox if it
An archcittern, Gernot? That broken chanterelle curls like gut to my
eye.
Sean
On Feb 15, 2010, at 1:51 AM, Gernot Hilger wrote:
Hi Franz,
the instrument in this pic is of course not a lute, but an
archcittern. Looks like a Hamburger Cithrinchen with extended bass
range.
Gernot
Zi
e any chanterelle.
Or do you once again have a mousepad with better resolution by any
chance?
Gernot
Zitat von Sean Smith :
An archcittern, Gernot? That broken chanterelle curls like gut to
my eye.
Sean
On Feb 15, 2010, at 1:51 AM, Gernot Hilger wrote:
Hi Franz,
the instrument in this p
What kind of glue are you using on those parsnips? Remember, the
organic ones need longer clamping time.
s
On Feb 15, 2010, at 11:45 AM, Daniel Winheld wrote:
Damn it, I want to see Gonzalo's oboe again. The last time we had
parsnips they were much too tough, and the finger holes didn't h
Thanks for sending in the photo, Alexander. I think this is an
important lute for the archives showing a good transitional
solution. ... and a lute I wouldn't mind finding on my dining room
table.
The music is very legible, too. I'm sorry I don't know enough song rep
to figure it out.
It's very neat, too. But as for double frets.
Do it twice!
Honestly, it works though it doesn't seem HIP whatsoever. The
advantage being you only need to replace one half (always take off the
more worn fret and replace it w/ a new one on the bridge side).
Anyway, I've done the doub
Well, Dan, there's that special tomato knot that defies comprehension
standing between me and HIP in this case. Can you imagine doing that
w/ those monster 1mm 1st and 2nd frets? Brrr.
I don't know if anyone answered the question on how often to change
frets but I remember Jacob Herringma
gle) while the old guys (the Ambassadors painting, Dowland) used
very thin (double) frets. Is there a connection?
Best wishes,
Martin
Sean Smith wrote:
Well, Dan, there's that special tomato knot that defies
comprehension standing between me and HIP in this case. Can you
imagine d
Good point, Alexander. There could easily be an aesthetic point to a
slight bray and I confess to enjoying this aspect of double frets.
Although unrelated to renaissance music as we know it, many Indian
instruments like the vina, sitar and tamboura have a braying mechanism
just north of t
ute
to life, or is that a misinterpretation?
We have a lot to learn about this
Martin
Sean Smith wrote:
Good point, Alexander. There could easily be an aesthetic point to
a slight bray and I confess to enjoying this aspect of double frets.
Although unrelated to renaissance music
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