A quick FYI:
Standard, modern fishing line is monofilament nylon. However, fluorocarbon
is also quite common as fishing line, considerably denser, and requires a
resultantly lesser diameter at given pitch and scale than nylon. Do you
know, t'other Eugene, if you were using nylon or fluorocarbon
Michael writes directly from (a different address), "Eugene, sorry my
account was hacked this is a scam.."
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Mathias Rösel
> Sent: Wednesday, November 30, 2011 5:28 AM
> To:
Oddly enough, this happened to another luthier/musician friend of mine very
recently. It was a friend here in my own town whom I knew to be gigging
here the day before I received his note, that time allegedly from London. I
enjoyed some correspondence with the scammer, who sent along the same
cut
Alas!
Eugene C. Braig IV
Assistant Director
Ohio Sea Grant College Program,
F.T. Stone Laboratory, CLEAR, and GLAERC
The Ohio State University
Area 100 Research Center
1314 Kinnear Rd.
Columbus, OH 43212
Phone: 614-247-6684
FAX: 614-292-4364
e-mail: brai...@osu.edu
http://ohioseagrant.osu.edu
rom: Monica Hall [mailto:mjlh...@tiscali.co.uk]
> Sent: Saturday, November 19, 2011 4:05 PM
> To: Eugene C. Braig IV
> Cc: Lutelist
> Subject: Re: [LUTE] Re: Buzzing [was "Gut strings"]
>
> > [Eugene C. Braig IV] Do be mindful that all manner of things can cause
> > buz
more difficult (and
> > probably more expesive)
>
> Thanks very much for the advice. I rather suspected that was the case
> but
> I keep put off the day to actually do something about it. Now I really
> will...
>
> Monica
[Eugene C. Braig IV] Do be mindful that all ma
You're the hands-down coolest, Rob. Good luck. I will consume with relish
(as I did your old CD of this music). ...And I hope the old Skene book gets
its time in your newly lit spotlight too.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.e
Hold it there, Bill. Lautenwerk appears to have been a perfectly real
instrument. Check out fine recordings of Robert Hill, Geoffrey Thomas (in
this case, Bohm's music, not Bach's), Elizabeth Farr, Kim Heindel, etc. on
such a thing.
In this case, "Prelude pour La Luth o Cembal" literally transla
Nice!
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Rob MacKillop
> Sent: Wednesday, September 28, 2011 8:33 AM
> To: Lute
> Subject: [LUTE] In the charts!
>
>No 18 in the Canadian Classical Music Chart!
>
>[1]ht
Thanks for sharing this, Dominic. I love this music, and you perform it
with a passion that is very sincerely entertaining and a delight to hear.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Dominic Robillard
> Sent: We
However, gut lasts a great long time (if you don't fray the finer strings
with nail or quill in the kinds of quirky applications I sometimes expect of
it). It is especially long-lived compared to metal-wound basses. In the
long term, it may work out to be more economical depending upon your own
p
It really depends upon application and luthier, even amongst those with a
great deal of hide glue experience.
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of sterling price
> Sent: Wednesday, August 31, 2011 2:31 AM
>
Well, maybe not epoxy...
In any event, all arguments of what *they* might have done if they'd had
*whatever* on hand are moot if they didn't. Corbetta had no fluorocarbon;
Bach didn't own a Steinway grand; etc. I have no idea what musical tools
may be available five decades into the future, but
f Of David van Ooijen
> Sent: Tuesday, August 30, 2011 4:16 AM
> To: lute@cs.dartmouth.edu
> Subject: [LUTE] Re: long strings?
>
> On 29 August 2011 20:07, Eugene C. Braig IV wrote:
> > Plugging and re-drilling a bridge to suit whatever configuration a
> player
&g
Plugging and re-drilling a bridge to suit whatever configuration a player
has need of seems commonplace enough. If a re-drill isn't practical, an
all-out and appropriately drilled replacement is pretty trivial in the grand
scheme of luthier labor. If anything, these tweaks/fixes are probably more
*Pssst* Most modern guitars use a Hauser-like scale around 65 cm. The last
generation following in Segovia's shadow favored a Ramirez-like 66 cm. Some
whacky experiments of that era (Kasha/Schneider, e.g.) even dabbled in 67 cm
(some others even greater) as a standard scale length.
That said, in
Monday, August 08, 2011 12:31 PM
> To: Eugene C. Braig IV
> Cc: 'LuteNet list'
> Subject: [LUTE] Re: American luthiers
>
> Thank you, Eugene. I've checked this page. I'm really impressed with the
> tool he designed to re-drill a bridge; wish I'd
FYI, getting to Chad's contact info isn't necessarily intuitive from the
page I'd sent. You'll need to click his name under "About Me" which will
take you to this page:
http://www.blogger.com/profile/10122664259981388540
That page will provide a link to his e-mail.
Best,
Eugene
> -Original
Personally, I am very pleased to have purchased this fine recording many
years ago. Keep fighting the good fight, brethren and sistren in pluck!
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Rob MacKillop
> Sent: Saturday
ing with pieces from the de Murcia manuscript discovered in Chile.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Bernd Haegemann
> Sent: Sunday, July 31, 2011 6:24 AM
> To: lute@cs.dartmouth.edu; Eugene C.
Drifting farther afield (and I know you know this, Chris), I believe one of
the weirdest features of nicer guitars that were original builds to carry
the Tilton "improvements" was that they had the soundboard built with the
grain running diagonally to the line of symmetry. Weird.
Eugene
>
Sorry, this seems to have wandered way too far afield for my tastes. If
this were carried on in direct, private correspondence, I personally would
feel no loss for it.
Eugene
PS: I like lutes and their music. I am not fond of oppressive fascism. I
enjoy discussing one of those topics here.
I would need to do some comparative measuring to be sure, but it sounds like
you should talk to a luthier and consider modifying the existing or
installing a new bridge and possibly nut.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
>
Just to play devil's advocate, so please consider this commentary with an
appropriately metered grain of salt. Some aspects, like tuning (as
necessitated by chord forms on a necked chordophone) and range, will need a
good fit of instrument to music and vice versa, but those very general
constructi
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Monica Hall
> Sent: Sunday, July 03, 2011 11:14 AM
> To: howard posner
> Cc: Lutelist
> Subject: [LUTE] Re: Gynocentricityness
>
> > You might be interested to know that the The Random
Yes, another excellent CD. Pretty peripheral, but those two recordings were
the two Heringman made for prog rocker Robert Fripp's Discipline Global
Mobile label.
Best,
t'other Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf O
Alan sent this in reply to me only, but I'm certain it was intended for the
list and t'other Eugene:
From: Alan Hoyle [mailto:adr...@gmail.com]
Sent: Friday, July 01, 2011 11:00 AM
To: Eugene C. Braig IV
Subject: Re: [LUTE] Re: A question about
I love Bakfark's music, but it gets way too little play by professionals,
and I can't really make any of it sound convincing myself. While I can't
provide technical advice here, I may be able to point you to some
inspiration. Heringman did an excellent CD entitled The Black Cow, half of
which was
There isn't much dedicated to any specific instrument in the medieval
literature. Asteria does a great job of setting late medieval songs to
punteado lute accompaniments. Perhaps check them for inspiration:
http://nueva.asteriamusica.com/
http://www.youtube.com/watch?v=LB4CehJEK8A
I also reall
Welcome, Eugene! I am also Eugene and also come to early stringed
instruments from modern guitar. Did you play the western 6-string version
or the 7-string guitar of Sychra et alia?
I enjoyed your video. I found your tone strongly consistent and your
playing passionate. I can see your history
If "this combination" refers to a scalloped fingerboard along with metal
frets, the 6-string mandolino lombardo, popular in northern Italy in roughly
the same time frame as the lauten of the wendervogel movement, also
typically featured scalloped fingerboards. They were also strung in gut,
usually
in the
audience."
Hoppy's reply: "Imagine it's an audience of *musicians* instead."
Ha! ...And I'm not ashamed to call myself a guitarist.
Eugene
> -Original Message-
> From: Roman Turovsky [mailto:r.turov...@verizon.net]
> Sent: Wednesday, April 06, 2011
I do not know of Mrs. Smith's musical activities. However, I can tell you
about a similar event I coordinated in Columbus, OH this past weekend. I
was very pleased with the turnout for Hoppy's concert and all the support
from Early Music, WOSU, the Columbus Dispatch, etc. We had attendees from
cques de Saint-Luc
>article
> in
> > New Grove (first ed. and MGG 1963). Musica Rara has puibo. all
> the
> > Suittes dessus and bassus, andattributres them one by one to
>three
> > different composers named St.Luc.
> > >
I think there may be a little confusion amongst the few recordings
referenced here. Compared to "Echo de Paris" or Ensemble Kapsberger, The
Foscarini Experience is downright tame in their interpretive approach to
Foscarini. Where they've wandered is asserting a particular painting is
known to por
ere more
> often the case, with some from 65 to 67 cm. Then, the ladies, or terz-
> guitars, quite a bit shorter and smaller. The younger guitar loving people
> should be the ones concerned with this though...
[Eugene C. Braig IV] Well, I have no idea how my age compares to yours,
Alexander,
t; inspired by the Redopre della Corrente which follows.
>
> In a way they are not taking credit for what they are contributing
> themselves. Strange world really. What the uninitiated don't perhaps
> understand is how sketchy the original sources are
>
> Monica
[Eu
I quite like that CD (especially the guitar solos that they opted to record
as solos), but the liner notes do strike me as a bit "whimsical."
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Monica Hall
> Sent: Thursday, Mar
Don't know which competition is mentioned, but Winfield, KS is the big one
for folk styles, including mandolin.
For what it's worth, classical players would much prefer their mandolins to
be relatively stable in performance, usually playing seated and usually
bracing the instrument with the flesh
to reply directly
(off list if you'd like) with any questions you may have.
Best,
Eugene
Eugene C. Braig IV
Artistic Director
Phone: 614-561-9204
The Columbus Guitar Society
Capital University, Conservatory of Music
1 College & Main
Columbus, OH 43209
USA
http://columbusguitarsociety.o
Greetings collective wisdom,
I don't recall if this specific topic has been discussed here before.
Considering the mandolino/mandola works in the Dalla Casa lute book, there
are some ornament indications that I'm not entirely certain how to
interpret. If you have a copy or access, please consider
Bream, Yepes, and many, many others.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Jorge Torres
> Sent: Wednesday, February 02, 2011 9:50 AM
> To: t...@heartistrymusic.com
> Cc: lute-cs.dartmouth.edu Net
> Subject: [LUTE]
Nice! I wish there wasn't an ocean between Bremen and me.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Mathias Roesel
> Sent: Tuesday, February 01, 2011 6:00 PM
> To: Lute List
> Cc: palca...@gmail.com
> Subject: [LUTE]
The evident configuration is not unlike the 5- to 7-course leuti of the mid
18th c. we've been discussing here (by the likes of Radice, Presbler, etc.).
However, most of the pieces by that era seem to be in seven courses. The
profile of the shell doesn't quite seem to fit my expectations for that
dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Martyn Hodgson
> Sent: Thursday, January 06, 2011 2:34 AM
> To: 'Lute Dmth'; Eugene C. Braig IV
> Subject: [LUTE] Re: RV93 - which instrument?
>
>
>Thanks Eugene.
>
>I don't think it i
in. She is a marvelous player, and I realized that so
> is the music.
>
> Mathias
>
> > -Ursprüngliche Nachricht-----
> > Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> > Auftrag von Eugene C. Braig IV
> > Gesendet: Mittwoch, 5. Januar 2011 18:19
> > A
ary 05, 2011 12:56 PM
> To: 'Lute Dmth'
> Subject: [LUTE] Re: RV93 - which instrument?
>
>
> - Original Message -
> From: "Eugene C. Braig IV"
> To: "'Lute Dmth'"
> Sent: Wednesday, January 05, 2011 5:10 PM
> Subject
Greetings Mathias,
I suspect you are familiar but for those without facsimile on hand, the
Dalla Casa pieces mostly specify only "arcileuto francese" and are in
two-staff systems. Where ensemble music is specified, it states "mandolino"
or "mandola" with accompaniment by "arcileuto francese." Th
ller cousin the mandora
>tuned a forth higher (also, confusingly, often called gallichon) was
>only developed during the early 18th century with peak popularity in
>these and some other (generally North German) States in the 1740s to
>70s.
[Eugene C. Braig IV] Musing upon the p
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of howard posner
> Sent: Monday, January 03, 2011 2:41 PM
> To: Lute List
> Subject: [LUTE] Re: RV93 materials?
>
>
> On Jan 3, 2011, at 11:17 A
Because of the dedicatee in Bohemia, and the popularity of mandora amongst
noble amateurs in that region of the world, Eric Liefeld (an occasional to
this list) also speculated that they may have been performed on a mandora in
D (see Liefeld, E. 2002/2003. Pondering Vivaldi's Leuto. LSA Quarterly
2
Very interesting. Thanks for this, Alexander.
Peripheral, but the "Treatyse of Fysshynge With an Angle" was first
published (as you've referenced) as only one small part of an all purpose,
late-medieval outdoorsmen's compilation generally known as the Book of St.
Albans. It also included treatis
..or "cat" as possibly derived from "kit", an antiquated folk reference to
fiddles. ...or "cat" as an abbreviation of "cattle" in general reference to
any ruminant (or specifically sheep) from which a large length of gut for
string fabrication might come. Take your pick. I doubt this one will be
Thanks for this word, Nancy. Do you know if he is making strings of twisted
brass?
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Nancy Carlin
> Sent: Monday, December 20, 2010 12:52 PM
> To: Eugene C. B
I do have experience with using brass wire on early Neapolitan mandolins. I
hope somebody with direct experience with chitarra battente also weighs in.
Given the similarities in construction between early chitarra battente and
early Neapolitan mandolins, I suspect the stringing was probably also
s
A friend who studied with Ernesto Quezada in Chile was visiting Ohio
this weekend. He was kind enough to point me to some fine concert
recordings of Ernesto performing on lute, vihuela, and 4-course guitar
made throughout the 1980s and posted to Youtube. Check them out:
[1]http:/
Ah, makes good sense. Have you tried this with gimped or loaded strings,
Guy?
Eugene
> -Original Message-
> From: Guy Smith [mailto:guy_m_sm...@comcast.net]
> Sent: Monday, November 22, 2010 2:06 PM
> To: 'Eugene C. Braig IV'; lute@cs.dartmouth.edu
> Subject:
The one problem I have with fishing knots that involve many twists (like the
blood knot or uni-uni knot) on gut is that the stiffness of gut imparts
difficulty in cinching knots. Depending upon how pliable your strings are,
this can even be pretty prohibitive. Most fishing knots in use now were
d
It's even worse than you've all imagined. This guy is popular!
http://www.youtube.com/watch?v=VCage-_yz7A
http://www.youtube.com/watch?v=bCCE-oTwRfY
Frankly, I actually enjoyed the Kozena et al. performance. There's also
nothing wrong with not. It is light years ahead of Benise.
Eugene
> --
Fortunately for the people around me, I don't have any.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Gary Digman
> Sent: Tuesday, October 19, 2010 5:53 AM
> To: Lute List
> Subject: [LUTE] Re: Lute volume
>
>
> - Or
I also think the perception of a conductor/director of the theorbo in
ensemble is very different than that of audience because of proximity.
Plucked strings of any type in ensemble work great in chamber settings, even
with loudish things like bowed strings and winds, in part because the
audience te
My Pleasure.
E
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Roman Turovsky
> Sent: Friday, October 08, 2010 8:11 PM
> To: Eugene C. Braig IV; lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Carbon strings?
>
Somehow, I'd been deleted from the list. Here are my comments once more.
Hopefully you can swim through the angling minutiae to arrive at something
useful.
Best,
Eugene
> -Original Message-
> From: Eugene C. Braig IV [mailto:brai...@osu.edu]
> Sent: Monday, October 04, 201
Not quite Italian, but here is as affordable a rebuild of an odd German-made
vihuela from a few decades ago incorporating a slightly curved pegbox:
http://www.neallutes.com/2009/09/vihuela-for-eugene-eugene-brought-me.html
I keep the bass courses in octave to be a little more "Italianate."
Enjoy,
.. or even dandier littler baroque mandolino.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Mayes, Joseph
> Sent: Friday, July 16, 2010 5:42 PM
> To: Edward Mast; Benjamin Narvey
> Cc: lute-cs.dartmouth.edu
> Subject: [LUT
I once bought a used instrument that came to me fretted in nylon.
Personally, I do not recommend nylon as fret material. Nylon is quite hard
and the surface very slick. It will eventually slip too easily. If tied
tightly enough to not slip initially, it may bite into the timber of the
fingerboar
I saw Irwin give a demonstration (mostly to sell videos) at a percussion
clinic years ago. It was intriguing.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Stephen Arndt
> Sent: Tuesday, June 29, 2010 1:36 PM
> To: Antho
> script. Little lightening bolts and gargoyle faces optional.)
[Eugene C. Braig IV] Ha!
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I remember when these came out, and have read all the comments to follow on
this thread. I'm not entirely certain of the practical usefulness of this
product unless one would want to replace pegs on an existing instrument with
minimal modification to the instrument.
I seem to recall geared tuners
Can you post it to the web and provide link? The list does not permit
attachments.
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Drew Villeneuve
> Sent: Friday, June 11, 2010 6:14 PM
> To: lute@cs.dartmouth.edu
> S
; wasted a lot of
> >> money
> >> ordering actual lute strings when my top string would break.
> >>
> >> I've had very bad experiences with gut when it comes to
> the top g
> >> string... it's just not worth
> the ef
Not all fluorocarbon fishing lines make good strings. I've had pretty poor
luck with Berkley's house brand of fluorocarbon fishing line. Under
continuous tension (e.g., as an instrument string), I have found it to fray
and lose intonation along its length. I've had much better luck with P-Line
C
a mass of 4 kg. I'm happy
to receive refinements from those who know physics better than I.
Eugene
> -Original Message-
> From: Stuart Walsh [mailto:s.wa...@ntlworld.com]
> Sent: Friday, May 28, 2010 3:17 PM
> To: Eugene C. Braig IV
> Cc: 'Martyn Hodgson'; '
.@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Eugene C. Braig IV
> Sent: Friday, May 28, 2010 12:21 PM
> To: 'Martyn Hodgson'; 'Lute List'
> Subject: [LUTE] Re: playing technique of baroque mandolin
>
> Greetings Martyn,
>
> Of course, more l
d be accelerated. I think a player could
"eat" through gut of less than 0.4 mm very quickly. That's why I ordinarily
keep carbon on the highest course or two.
Best,
Eugene
From: Martyn Hodgson [mailto:hodgsonmar...@yahoo.co.uk]
Sent: Fr
Hey, mandolinists have little enough music! Tell that guitarist to give it
back!
Semi-kiddingly,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Stuart Walsh
> Sent: Friday, May 28, 2010 5:12 AM
> To: Alfonso Marin
> Cc: l
o to ca. 3 kg on the others.
Best,
Eugene
___
From: Martyn Hodgson [mailto:hodgsonmar...@yahoo.co.uk]
Sent: Friday, May 28, 2010 4:23 AM
To: Eugene C. Braig IV; Stuart Walsh
Cc: 'Susanne Herre'; 'Lute List'
S
..Or do you know what he uses as a plectrum?
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Alfonso Marin
> Sent: Friday, May 28, 2010 4:16 AM
> To: lutelist Net
> Subject: [LUTE] Re: playing technique of baroque mandolin
>
Thanks for sharing. Who made yours? What do you use as a plectrum?
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Alfonso Marin
> Sent: Friday, May 28, 2010 4:00 AM
> To: lutelist Net
> Subject: [LUTE] Re: playing t
sh
> Sent: Thursday, May 27, 2010 5:23 PM
> Cc: Eugene C. Braig IV; 'Susanne Herre'; 'Lute List'
> Subject: [LUTE] Re: playing technique of baroque mandolin (with link!)
>
> Stuart Walsh wrote:
> > Stuart Walsh wrote:
> >>>
> >>
&g
Here is what I posted to Ning in mid April:
"Fear not, lute ningers! I am fairly certain these are altogether different
Larry Browns and that the lute builder of North Carolina is still alive. In
spite of the fact that his lute and violin web site has been down for a
while, I have an e-mail from h
gt;
> > > http://www.nationaltrust.org.uk/main/w-vh/w-visits/w-
> > > findaplace/w-kedles
> > > tonhall
> > >
> > > then click on 'Meet the family' the first picture is of Lady
> > Caroline
> > > Colyear (1733-1812) da
I know he sent word by e-mail to a small group of correspondents of several
steel-string guitars he was building for sale, I believe back in January or
February. His site appears to have been down for a while. This also
received a little chat at Ning.
Best,
Eugene
> -Original Message-
he 2nd Earl of Portmore, who
> married
> > > Nathaniel Curzon in 1750: there is a charming portrait in the Family
> > > Corridor of her playing the mandolin ?? , with Nathaniel
> > > standing, by
> > > Arthur Devis, dated 1754. Please could you identify
Coincidentally, such "mandoras" have received some discussion here. Those
italianate things with sickle-shaped pegboxes seem to me a slightly
different concept. Frankly, I'm not certain what their makers and players
called them, but I suspect it might not have been "mandora."
Eugene
> -Ori
ensemble.
Best,
Eugene
> -Original Message-
> From: Stuart Walsh [mailto:s.wa...@ntlworld.com]
> Sent: Monday, May 17, 2010 2:10 PM
> To: Eugene C. Braig IV
> Cc: 'Susanne Herre'; 'Lute List'
> Subject: Re: [LUTE] Re: playing technique of baroque ma
r class has been such a success. It is good that
> classical guitarists get a real insight into what the baroque guitar is
> really like.
>
[Eugene C. Braig IV] You mean it's not all transcriptions of Bach cello
suites and misc. preludes?
Facetiously,
Eugene
To g
No, I'm not aware of any iconography showing mandolinists specifically
engaged in the pit. However, what iconography there is of the era does seem
to imply punteado play.
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Susa
ry
>
>Did not violinists play the mandolin, especially the
>Neapolitan wire strung instrument tuned the same?
[Eugene C. Braig IV] However, there isn't any evidence that the Neapolitan
type existed until the mid 18th c. at the earliest. Instruments (some with
somewhat dubious labels)
> -Original Message-
> From: Stuart Walsh [mailto:s.wa...@ntlworld.com]
> Sent: Thursday, May 13, 2010 6:02 PM
> To: Eugene C. Braig IV
> Cc: 'Nancy Carlin'; 'Lute List'
> Subject: Re: [LUTE] Re: lute music and playing technique in italy 18th
&
PS: My instrument is patterned after the 1736 Smorsone in Berlin.
Best,
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Eugene C. Braig IV
> Sent: Thursday, May 13, 2010 2:06 PM
> To: 'Nancy Carlin
ubject: [LUTE] Re: lute music and playing technique in italy 18th century
>
>That looks like a nice mandolin in the picture. Who made it and what
>kind of music do you play on it?
> Nancy
>At 07:24 AM 5/13/2010, Eugene C. Braig IV wrote:
>
> Almost n
Almost nothing is documented on playing technique of 4th-tuned mandolin/o
other than iconography, and techniques so portrayed can pretty diverse
looking. One of the clearest and most performance-ready painting from the
mid 1700s is Longhi's "Little concert." It shows a pair of ladies playing
5-c
ion for my
mediocre sight reading (not to mention a convenient excuse at rehearsals).
Intriguing.
Eugene
> -Original Message-
> From: Nck Gravestock [mailto:bluti...@leicester.anglican.org]
> Sent: Wednesday, May 12, 2010 12:10 PM
> To: Eugene C. Braig IV; 'Stuart Walsh'
ing a subaltern
hominid.
Eugene
> -Original Message-
> From: Stuart Walsh [mailto:s.wa...@ntlworld.com]
> Sent: Wednesday, May 12, 2010 11:55 AM
> To: Eugene C. Braig IV
> Cc: lute@cs.dartmouth.edu
> Subject: Re: [LUTE] Re: The Worshipful Company of Left-Handed Lute Players
te-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of Stuart Walsh
> Sent: Wednesday, May 12, 2010 10:41 AM
> To: Eugene C. Braig IV
> Cc: simon.lamb...@stfc.ac.uk; lute@cs.dartmouth.edu
> Subject: [LUTE] Re: The Worshipful Company of Left-Handed Lute Players
>
> E
I would say they're wacky...or playing a standard instrument in revers to
standard stance. Interestingly, I just enjoyed a visit from Brazil's
Quaternaglia Quartet. They're sinistral leader, Sidney Molina, plays in
reverse to standard on instruments built in reverse to standard, but is
actual
Au contraire, my dear Stuart. I am stereotypically left-handed and play
standard instruments. I don't believe there is necessarily anything
inherently naturally left-handed about placing the neck of a chordophone in
the right hand...or right-handed about placing it in the left. Both your
hands a
Vegans probably should also not play lutes since many-most are manufactured
using animal-based glues. Frankly, vegans should also not eat anything at
all because of trace amounts of animal protein (invertebrates especially)
inadvertently included in pretty much everything humans ingest.
Tongue in
I wish I was closer to Bremen!
Eugene
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
> Behalf Of "Mathias Rösel"
> Sent: Tuesday, May 04, 2010 4:44 AM
> To: Lutelist
> Subject: [LUTE] Bremen, Professor for Lute
>
> Dear everybody,
>
> applic
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