[LUTE] Re: Reymann
MOI -old mss. & incunabula,
www.omifacsimiles.com
I can,t connect- they may be out of business?
Sent from my T-Mobile 4G LTE Device
Original message
From: Terry Muska
Date: 5/2/19 12:33 PM (GMT-08:00)
To: Mathias Rösel
Cc: Lutelist
Subject: [LUTE] Re: Reymann
What is OMI and how can I purchase a copy of the Reymann?
Thanks,
Terry
Sent from my iPhone
> On May 2, 2019, at 1:25 AM, Mathias Rösel
wrote:
>
> Not easy to read, c and e almost undiscernible at many places.
> Digitalised copies would be great help.
> There must be facsimile files of Reymann online somewhere, though,
> because I've g got one.
> Mathias
>
__
>
> Gesendet mit der [1]Telekom Mail App
> --- Original-Nachricht ---
> Von: Susan Price
> Betreff: [LUTE] Re: Reymann
> Datum: 02.05.2019, 4:23 Uhr
> An: lute@cs.dartmouth.edu
>
> I see that OMI has a nice facsimile of Reymann for $111.00. Should
I
> purchase?
> Susan
> Original message
> From: Dan Winheld <[2]dwinh...@lmi.net>
> Date: 5/1/19 7:27 PM (GMT-07:00)
> To: magnus andersson <[3]maan7...@yahoo.com>, Tristan von Neumann
> <[4]tristanvonneum...@gmx.de>, [5]lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Reymann
> Congratulations Tristan and Magnus- you have gotten me interested
in
> getting Reymann's "Noctes"; unfortunately my eyesight has degraded
to
> the point where I can no longer read facsimiles. Are there any
modern
> typeset editions? (Any tab system or pitch notation- just has to be
> legible to ancient eyes)
> Thanks for any leads-
> Dan
>> On 4/26/2019 10:19 PM, magnus andersson wrote:
>> Dear Tristan,
>>
>> I have played some Reymann in concert. His Noctes collection is
> indeed
>> one of the finest collections of lute music that's come down to
> us.
>>
>> His galliardas are among the the most virtuouso pieces in the
> whole
>> repertoire.
>>
>> He must have been a very accomplished musician!
>>
>> I hope to record some of his music in the future. His Cythara
> sacra is
>> a great pendant to Noctes. Much more meditative and less
> technically
>> demanding.
>>
>> Best,
>>
>> Magnus
>> [1]Skickat fr��������n Yahoo Mail
> f��������r iPhone
>>
>> Den fredag, april 26, 2019, 10:29 em, skrev Tristan von Neumann
>> <[6]tristanvonneum...@gmx.de>:
>>
>> Just got my hands on Noctes Musicae 1598 by Matthaeus Reymann.
>>
>> Has anyone played it?
>>
>> I am amazed that there is absolutely no recording of this amazing
> very
>>
>> original music.
>>
>> The collection has huge choral and other fantasies with lots of
> great
>>
>> ideas, and especially pavans that rival the fantastic treatment
> of
>>
>> Daniel Batchelar's - these aren't dances anymore, but fantasies
> ordered
>>
>> by the pavan model.
>>
>> The best thing: the difficulty is not that high compared to the
> effect:
>>
>> the fingering is very logical and doesn't distract from the
> beauty of
>>
>> the pieces.
>>
>> Huge recommendation.
>>
>> To get on or off this list see list information at
>>
>> [2][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>> --
>>
>> References
>>
>> 1. [8]https://overview.mail.yahoo.com/?.src=iOS
>> 2. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>>
> --
>
> References
>
> 1.
https://kommunikationsdienste.t-online.de/redirects/email_app_android_s
endmail_footer
> 2. mailto:dwinh...@lmi.net
> 3. mailto:maan7...@yahoo.com
> 4. mailto:tristanvonneum...@gmx.de
> 5. mailto:lute@cs.dartmouth.edu
> 6. mailto:tristanvonneum...@gmx.de
> 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 8. https://overview.mail.yahoo.com/?.src=iOS
> 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
[LUTE] Re: In memoriam loaded gut
Martin, Sean- In Memoriam Indeed. (Happy Memorial Day everyone!) I am grimly holding on to my three last good ones for fundamentals 12, 11, and 10 on my d-minor Baroque lute. Sean, if yours is a big, fat, juicy one (.200 or so mm) the right place may be the 13 course fundamental on my Baroque lute, currently a bass viol 5th string holds that position fairly well. Dan P.S., on the road, will hear Martin's recording later... Those are lovely, Martin; so wonderfully different from all that down-beat driven, passaggi fol-de-rol. As for the strings, I bought about a half dozen of them years ago and did use and enjoy them. Still have one waiting for the right place. Sean On May 28, 2013, at 6:12 AM, Martin Shepherd wrote: Hi All, As the opportunity arose, just made a couple of quick and dirty recordings on an 11c lute I made a couple of years ago (after Maler, 69cm) using loaded gut strings: www.luteshop.co.uk/11c/laltesseroyale.mp3 www.luteshop.co.uk/11c/labellehomicide.mp3 I am so sad that we cannot get these strings anymore. Martin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: John Danyel
Of course- that's why I used the term editor rather than name you directly. Just ambiguous enough, since I wasn't sure it that it wasn't you. My apologies, Martin. A nine course lute at this time in England would no doubt conform to Downland's description- 10 frets on the neck (hath been lengthened by the French Nation to tenne frets -guessing, don't have my Varietie handy) -so that nominal G lute goes down about another tone, so probably it's an F lute at 67 cm. Dan __ From: Martin Shepherd mar...@luteshop.co.uk To: Lute List lute@cs.dartmouth.edu Sent: Tuesday, October 25, 2011 1:30:18 PM Subject: [LUTE] Re: John Danyel Dear All, Dan, when you say the editor in your last sentence, you mean Dr Fellowes (or whoever it was) not me - I said nothing about the absolute pitch. My guess is that the general pitch at this period was around a tone lower than modern, so a G lute may have been around 67cm string length. I think one of the songs uses a bass lute in (nominal) D, so this may have been quite a big beast. The strange tuning used for The Leaves be Green is a kind of conceit (first pointed out by Tony Rooley many years ago - starting with a nominal G lute, the only courses which have *not* been changed in tuning are A and G, standing for Anne Greene. Best wishes, Martin On 25/10/2011 17:28, Daniel Winheld wrote: I vote for the sensible compromise- g stays g (easy!) and a low Bb. B flat was used by other lute composers- see some of Nicolas Vallet's pieces- he has the 10th course CC scoradature'd down to low Bb in at least three pieces in his Secret des Muses. He also wrote for 9 course lute, so a low C on the 9th could obviously go down. Pushing the envelope has always been the norm; and when one end of the envelope is already at the tearing point it's the other end that has to give. Is this the John Danyel piece Mrs Anne Grene her leaves bee greene based on the song The Leaves be Greene? There is an English Lute Society edition of Danyel's complete lute works, and that one is printed as per the original and re-intabulated (if that is the right term) by Martin Shepherd into standard tuning. Works very well that way- but I haven't had the courage to re-tune my archlute (no 9 or 10 course lutes in the house) to try the original. The editor's opinion is that the actual pitches go 1/2 step lower than the sensible compromise i.e., f# 1st and AA 9th. Dan On Oct 25, 2011, at 4:21 AM, Mathias RAP:sel wrote: Dear Everybody, not sure if this has been discussed before, as the archives are unavailable currently. In John Danyels 1606 publication, there is a piece on the last pages (22-3) with a special lute tuning. It is a solo piece (variations on Greensleeves), and Danyel gives a chart with the intervals, but no pitches. Translated into pitch, the tuning would possibly be: 1. B4 - F#4 - D4 - A3 - D3 - C3 | A2 - G2 - C2 Or 2. E4 - B3 - G3 - D3 - G2 - F2 | D2 - C2 - G1 Or 3. D4 - A3 - F3 - C3 - F2 - Eb2 | C2 - Bb1 - F1 The first line is based on the lowest bass string on lutes at the time (C2). In that case, the 1st course would be higher (and thinner) than gut strings can be made for a G-lute with VSL of about 58-63 cm. The 2nd and 3rd lines are based on the lowest bass strings for the chitarrone or the archlute. In that case, the 1st course has the pitch of a tenor lute. Played with the 1st course as B4, the variations on Greensleeves would be in C-major, and played with the 1st course as E4, the variations would be in F-major. Of course, one might argue that somewhere in the middle is a sensible compromise, i. e. 1st course G4 with the 9th course Bb1. That way, however, Danyel's Greensleeves would be in A-flat-major. A bit awkward for 1606 IMO. My questions are: 1. Is there evidence of very small 9c lutes (about 50 cm VSL) in Britain around 1600? (First line of tuning) 2. Is there evidence of theorboed 9c lutes (not to speak of Britain around 1600)? (2nd and 3rd lines of tuning) Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: long strings?
Another point for modern versions of these extended neck diapason burdened instruments- modern builders know how fickle, indecisive, and variable are the needs of us modern players; it is a simple matter to have in place pre-drilled extra bridge holes, long enough nut to accommodate at least one more course, plenty of pegs at both pegboxes. So many theorbi, arciliuti, etc. can be set up as 6 x 8, 8 x 6, 7 x 7, single or double courses. You pick your strings and play around until you have the best set-up. I'm still playing around with my own archlute, part of the fun. No reason this thing couldn't also be set up to go as a 6 x 8 as easily as the original 5 x 9. In fact, just went back and looked at the one Rob is playing- guess what? 11 pegs in the lower pegbox. It actually isn't that hard to drill a few holes in the bridge, (done it myself- 8ve string hole at the 8th course to make my archlute 8 x 6) but of course great care precision are called for. Remember the bow drill used for just that purpose posted here a few weeks ago? Dan- more nonsense, don't want to go back to work. __ From: David van Ooijen davidvanooi...@gmail.com To: lute@cs.dartmouth.edu Sent: Monday, August 29, 2011 9:43:50 AM Subject: [LUTE] Re: long strings? The point is, it has only five courses on the fingerboard. Playing any kind of lute or theorbo music on it would mean redrilling the bridge to accomodate six, hazardous enough on a 'decent' instrument, but I'm not sure this one will be up to it. David On 29 August 2011 15:17, Garry Warber garrywar...@hughes.net wrote: Not to be argumentative, but... :-) I spent over 25 years building and playing classic guitars, and this theorobed guitar is a member of the lute family, beyond doubt... But, call it as you will, and no doubt Stephen and Sandi are correct looking from their background. This stuff greatly depends upon which expert is looking at it... :-) Garry -Original Message- From: David van Ooijen Sent: Monday, August 29, 2011 5:21 AM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: long strings? Their tiorbino (Theorbo Bass Lute small ...) has (Stephen and Sandi's) description of the theorbood guitar (Theorbo Bass Lute medium). It even comes with Fontanelli's music! David - enough of this nonsense, back to work -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** --
[LUTE] Re: long strings?
I also very highly recommend Chris Henriksen of Boston Catlines. I got strings from him earlier this year and have been dealing with him forever. He's not tied down to any one source (I've gotten everything from gut, to carbon, nylon, nylgut, new nylgut, and perhaps someday neonuovonylgut) He is a professional performer on all the usual instruments himself (recording concert artist) and has been putting sets of strings together for decades. The only other source I go to is Dan Larson, almost exclusively for his gut. Also recommended- and he has a great online string calculator program: http://www.gamutstrings.com/calculators/calculator.htm And his homepage: http://gamutmusic.squarespace.com/ Have fun, don't go too broke. Dan __ From: howard posner howardpos...@ca.rr.com To: Lute List lute@cs.dartmouth.edu Sent: Sunday, August 28, 2011 2:52:02 PM Subject: [LUTE] Re: long strings? 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 too short... Please, no you must use gut(!) nonsense. Are theorbo strings bought individually? Please name sources, if possible. Yes, you should buy the strings individually. Lutes and theorbos are not standard lengths, so an all-purpose set of them, such as you can buy for a guitar, makes no sense. Any instrument you buy should have strings already on it, so if the seller can tell you what they are, you can make changes as it suits you. And BTW, for long theorbo basses, gut works fabulously well and lasts forever. You can find a list of string makers/sellers here: http://www.unm.edu/~ctdbach/music/lute_strings.html Has anyone done business Chris Henriksen/Boston Catlines lately? I was once very satisfied dealing with him, but I don't think I've actually bought any strings in this century, and now that I finally need new ones, I feel like a string virgin again. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: An article from today's Wall Street Journal
More Governmental B.S: http://www.gibson.com/en-us/Lifestyle/News/gibson-0825-2011/ __ From: Guy Smith guy_m_sm...@comcast.net To: William Samson willsam...@yahoo.co.uk, lute@cs.dartmouth.edu Sent: Friday, August 26, 2011 12:34:32 PM Subject: [LUTE] Re: An article from today's Wall Street Journal This has actually been an issue for quite some time. It's related to CITES (Convention on International Trade in Endangered Species), so it can come into play when you cross any international border. Different countries have different approaches to enforcing CITES, but all of the signatories are supposed to be doing something. I worried about this issue a couple of years ago, when I took a borrowed theorbo with a small ivory decoration on the neck across the border to Vancouver (Canada). I'm sure Bob Lundberg was careful where his ivory came from, but I couldn't prove anything. Fortunately, they just waved me through both directions without inspecting anything. Guy -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of William Samson Sent: Friday, August 26, 2011 11:44 AM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: An article from today's Wall Street Journal - Forwarded Message - From: William Samson willsam...@yahoo.co.uk To: Markus Johann Muehlbauer m.j.muehlba...@googlemail.com Sent: Friday, 26 August 2011, 19:42 Subject: Re: [LUTE] Re: An article from today's Wall Street Journal I can see this being a real headache for luthiers. Many lute makers, myself included (when I was active) prefer to use recycled materials from old furniture, for example. I have a load of ebony 'black keys' and ivory white keytops salvaged from pianos, and even a couple of ebony pillars from the sides of a very old wardrobe that was otherwise eaten up by woodworm. The ivory for nuts I bought as offcuts from a maker of bagpipes 40-odd years ago. There's no way now that I can get hold of paperwork to authenticate my claims - many of the people I bought stuff from are long dead! Let's hope this crap never reaches the UK. Talking of re-cycling - the great Swiss lute maker, Sandro Zanetti who was a top luthier in the late sixties, worked almost exclusively with recycled materials - even his soundboards were salvaged from high quality piano soundboards. From: Markus Johann Muehlbauer m.j.muehlba...@googlemail.com To: lute@cs.dartmouth.edu Sent: Friday, 26 August 2011, 19:12 Subject: [LUTE] Re: An article from today's Wall Street Journal Original Message Subject: Re: [LUTE] An article from today's Wall Street Journal Date: Fri, 26 Aug 2011 20:09:17 +0200 From: Markus Johann Muehlbauer [1][1]m.j.muehlba...@googlemail.com To: David R [2][2]d_lu...@comcast.net If I understand that article correctly, I'd asume I shoudn't even try to bring my recorders or lute across the US-border. I don't yet know how I should think about this development. When I asked for FSC-certified recorders all I got in response was stupid answers. But this way over the top. I own only a used lute, how on earth should I know what kind of rosewood the luthier used for it an where or when it was harvested? The wood propably comes from a time when no one knew that this kind of documentation would one day become a necessity. But I'm glad you reposted that article here. It would have never crossed my mind that taking musical instrumentes to the US could turn out to be so difficult. On 26.08.2011 19:26, David R wrote: [3][3]http://online.wsj.com/article/ SB10001424053111904787404576530520471223268.html? mod=WSJ_LifeStyle_Lifestyle_5 -- References 1. mailto:[4]m.j.muehlba...@googlemail.com 2. mailto:[5]d_lu...@comcast.net 3. [6]http://online.wsj.com/article/ To get on or off this list see list information at [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:m.j.muehlba...@googlemail.com 2. mailto:d_lu...@comcast.net 3. http://online.wsj.com/article/ 4. mailto:m.j.muehlba...@googlemail.com 5. mailto:d_lu...@comcast.net 6. http://online.wsj.com/article/ 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: [Le_luth] Dedillo
Except that the way the 7 course vihuela players did it was strictly mental- by tuning the 4th course down from f to e, and just thinking of it as G instrument with a high treble course, despite the actual pitch level and range being identical to a 7 course lute with a low D 7th. It was this flexible thinking on the part of vihuelists that fooled eary musicologists into believing that every vihuelist had to own 7 vihuelas to cover every tone in the scale. Of course, one could get the same impression from any number of 16th and 17th century lute songbooks that put the singer's first note reference almost anywhere on the fingerboard (Willeart, the Verdelot madrigals intabutated for voice and lute, for example). But it's interesting that Galilei proposed a short string to actually go higher- how the hell did he propose to fret such a string? Not to mention avoiding the existing frets. (Look forward to you exploring this one.) Another unasked question- how did he feel about his kid Mike fooling around with (gasp!) 10 course lutes? I never knew about the McClintock translation- is that available? I would love a copy. (As well as translations of Capirola and Piccinini) Dan __ From: Martin Shepherd mar...@luteshop.co.uk To: Lute List lute@cs.dartmouth.edu Sent: Friday, August 19, 2011 12:49:47 AM Subject: [LUTE] Re: [Le_luth] Dedillo Well, this has really opened something up for me. I've just been reading Carol McClintock's translation of Galilei's Fronimo, and amongst the many fascinating things he says (of which more anon) is that there's no point having all those extra bass courses on the lute because they sound too weak and in any case you can do everything you want on a 6c lute. That much is fairly widely known. But he goes on to say that if you really want to intabulate pieces which go slightly outside the range you should do it by adding an extra course in the treble, tuned a fourth higher than the original top string, which now becomes the second course (so we now have a high c string). I don't know exactly how he physically managed this, but he talks about adding an extra little bridge so the new top string is a bit shorter than the others. I'm just about go on a trip so don't have the time to explore all this right now, but I'm intrigued that it seems the vihuelistas may actually have done this. Best wishes, Martin On 19/08/2011 06:06, dwinh...@comcast.net wrote: Quite right, Ed, about the 7 course vihuela and how it is misunderstood today. I plead guilty to tuning- and using- my own 7 course Chambure copy as a part-time stealth 7 course lute. What I understand from reading Ward Bermudo is that the 7th course is considered to be a nominal high c string, (for a g vihuela) in order to make the higher voices of motets, masses, etc. playable within reasonable areas of the fingerboard- just like a having a 5 string cello for Bach's 6th cello suite. In practical terms, of course, (the laws of physics being what they are, despite what Republican's would like them to be) a 7 course vihuela of say 59 cm. sl would actually be set up as a small D instrument, whose scale allows the high g string- but it would be nominally a G instrument with a high c string. All I would have to do on mine would be to lower the 4th course from f to e to come up with the correct intervals- then I would be good to go, playing all the voices from the vocal scores. The other tuning in Bermudo is a theoretical proposal of 4ths and 5ths that sounds cool but, like other things, would be thankless wishful thinking; what with the laws of physics being what they are; vis-a-vis the breaking point of gut and the integrity of bridges to soundboard connections. Dedillo? Tried it, don't like it; I'm with Fuenllana on that one. I still await a convincing performance. Dan __ From: Edward Martine...@gamutstrings.com To: Martin Shepherdmar...@luteshop.co.uk, Lute List lute@cs.dartmouth.edu Sent: Thursday, August 18, 2011 9:30:30 PM Subject: [LUTE] Re: [Le_luth] Dedillo Thanks for posting this, Martin! Ralph Maier certainly gives us something to contemplate. Many of us play the vihuela, but very few, if any, play the dedillo stroke. I have dabbled a bit with it, but not made a serious study of it, and Maier makes a great case for making another attempt. He is obviously using bright synthetic strings, and if he used gut, I am
[LUTE] Re: [Le_luth] Dedillo
...the way the 7 course vihuela players did it was strictly mental- by tuning the 4th course down from f to e, and just thinking of it as G instrument with a high treble course... I have personally done this in situations requiring a D bass lute, (lute duets/ensemble, bass singers, playing a bass viol part) -but having only a 7-course tenor G lute available. It's a really fun mental kick when you finally fool yourself into feeling that your 1st course actually is a high 7th course. Dan __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [Le_luth] Dedillo
Quite right, Ed, about the 7 course vihuela and how it is misunderstood
today. I plead guilty to tuning- and using- my own 7 course Chambure
copy as a part-time stealth 7 course lute. What I understand from
reading Ward Bermudo is that the 7th course is considered to be a
nominal high c string, (for a g vihuela) in order to make the higher
voices of motets, masses, etc. playable within reasonable areas of the
fingerboard- just like a having a 5 string cello for Bach's 6th cello
suite. In practical terms, of course, (the laws of physics being what
they are, despite what Republican's would like them to be) a 7 course
vihuela of say 59 cm. sl would actually be set up as a small D
instrument, whose scale allows the high g string- but it would be
nominally a G instrument with a high c string. All I would have to
do on mine would be to lower the 4th course from f to e to come up with
the correct intervals- then I would be good to go, playing all the
voices from the vocal scores. The other tuning in Bermudo is a
theoretical proposal of 4ths and 5ths that sounds cool but, like other
things, would be thankless wishful thinking; what with the laws of
physics being what they are; vis-a-vis the breaking point of gut and
the integrity of bridges to soundboard connections.
Dedillo? Tried it, don't like it; I'm with Fuenllana on that one. I
still await a convincing performance.
Dan
__
From: Edward Martin e...@gamutstrings.com
To: Martin Shepherd mar...@luteshop.co.uk, Lute List
lute@cs.dartmouth.edu
Sent: Thursday, August 18, 2011 9:30:30 PM
Subject: [LUTE] Re: [Le_luth] Dedillo
Thanks for posting this, Martin! Ralph Maier certainly gives us
something to contemplate.
Many of us play the vihuela, but very few, if any, play the dedillo
stroke. I have dabbled a bit with it, but not made a serious study
of it, and Maier makes a great case for making another attempt. He
is obviously using bright synthetic strings, and if he used gut, I
am certain that the tone emitted from the back side nail would be
sweeter; it seems too harsh on synthetics, in my opinion. But, he
wrote a great paper, and provides us with incentive to do better.
That is one thing that in our modern times, we have almost ignored:
dedillo.
There is another thing we have ignored, which is the 7-course
vihuela. Ward and Bermudo discuss this at length, and they make the
case for there having been theordinary vihuela in 6 courses, with
our standard renaissance tuning; the other is the 7-course vihuela,
in which entirely different tuning systems were employed. Ward
provides us with many names of vihuelistas who performed 7-course
vihuela, but other than Bermudo's examples, there is no existing
music for those tunings. Bermudo states that all the great
vihuelistas also played 7-course vihuela.
In particular, Bermudo states this instrument was used primarily for
doing intabulations. Yes, some modern players in our times do have
7-course vihuelas, but I have thus far found nobody in our times
using the 7-course vihuela as an instrument which utilizes it's
initial purpose, which is to use various tunings to devise
intabulations. All the ones, to my knowledge, use it as having an
extra bass course, similar to the lute. This was not the intent of
such an instrument.
We have come a long way in our understanding of the vihuela, but we
have a long journey ahead of us..
ed
At 02:50 PM 8/18/2011, Martin Shepherd wrote:
I can't resist passing this on - fascinating stuff.
M
Original Message
Subject: [Le_luth] Dedillo
Date: Thu, 18 Aug 2011 14:08:41 +0200
From: Sauvage Valery [1]sauvag...@orange.fr
Reply-To: [2]le_l...@yahoogroupes.fr
To: [3]le_l...@yahoogroupes.fr
Bonjour,
Un ami m'a fait part de cette page `a propos de technique de main
droite
concernant la vihuela, que certains pourraient trouver
interessante...
[4]http://www.ralphmaier.com/index_files/Page318.htm
(en faisant defiler il y a quelques videos de demonstrations)
Bonne rentree `a tous...
Val.
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References
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3. mailto:le_l...@yahoogroupes.fr
4.
[LUTE] Re: American luthiers
http://www.blackbirdstringarts.com/ Another name to add to your list is Mel Wong. I played Mel's experimental 'Chinese' lute last September when we were in SF, and it was also a nice lute. Mel is also a very nice person. Best wishes, Ron Andrico Date: Sat, 6 Aug 2011 15:15:35 -0400 To: lute@cs.dartmouth.edu From: nedma...@aol.com Subject: [LUTE] American luthiers A guitarist friend of mine - not yet a member here - wants to get a lute and asked my advice. He would like to get from a maker in this country (U.S.). 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 Brodkey. Has anyone here experience with the instruments of any of these makers? -Edward To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- --
