On Thu, 14 Aug 2014 22:26:19 +0200, Benjamin Narvey wrote
> Both. Whike French theorboes tended to be single strung,
This sounds as if we can make sound statements about the the types of
instruments used in France. How large is our sample compared to the
population? (Read: how many surviving instr
On Thu, 14 Aug 2014 18:39:55 +0200, BENJAMIN NARVEY wrote
> Dear Luters,
>
>I notice that almost everyone keeps the seventh course of their Italian
>theorboes as a stopped string on the first pegbox, mind all the sources
>I know point to having only 6 on the stopped strings, and 8 diapa
On Thu, 14 Aug 2014 19:00:24 +0200, Benjamin Narvey wrote
> Of course! I meant courses, not strings. Single stringing is
> mainly a modern phenomenon...
Where did you get this idea from? Is this statement based on
_historic_ evidence or on surviving instruments?
Cheers, Ralf Mattes
To get o
On Fri, 25 Apr 2014 23:20:33 +0200, David Morales wrote
> You can translate the full site to your prefered language by
> using the flags located in the top-left corner, maybe that could help.
This unfortunately doesn't work in my browser here, even if I allow
scripts from cuerdaspulsadas.es (whi
On Fri, 25 Apr 2014 10:31:33 +0200, David Morales wrote
>A few months ago, John Griffiths shared with us a project that was
>brewing in Trujillo (Caceres, Spain) ... The idea was so simple
> that it seems crazy to us: students technology institute
> "Francisco Orellana" were engaged in
On Sun, 13 Apr 2014 22:16:16 +0200, Stephan Olbertz wrote
> Dear Christopher,
>
> I was a bit hasty, I'm afraid, and didn't look closely enough to
> Anthony's sample, assuming it was all simple octaving basses. I
> purchased a pdf and found several instances where indeed the lute
> bass has a diffe
On Sun, 2 Mar 2014 15:06:29 +0100, Jean-Marie Poirier wrote
> Maybe Visée first met Louis XIV who stayed in Vizé for a couple of
> days in the then famous "Maison Houbart" in 1672 and 1675, during
> the Franco-Dutch War... He was with the musketeer d'Artagnan who got
> killed in 1673 during the sie
> Czesc Grzegorzu,
>dziekujemy za odpowiedz!
>If you could send me the instruction pages (I have the Tree
> edition, without the added directions, I think) I would translate
> them to English and post them here. Dobranoc Bernd Am
> 26.02.2014 21:03, schrieb Grzegorz Joachimiak:
>
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you still reading up? It's really hard to answer without
knowing which of my posts you have read so far.
> > First, as I've said before: a guitar accompaniment is not a vaild source
> > for continuo realizations! Guitar players wh
On Wed, 26 Feb 2014 14:14:47 -0500, Bruno Fournier wrote
> dear collective wisdom,
>
> I am thinking of stringing my Colin Everette small archlute as a
> tiorbino. As some of you might know, Colin built many renaissance
> lutes on the tiorbino model, with 13 or 14 courses but was stringing
> it as
ld actually send malicious code on purpose. But an
inocent cross-site script and your browser/mail client will happily
infect all your outgoing mail).
Please, no HTML.
Cheers, RalfD
> Wayne
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Tue, 25 Feb 2014 07:41:43 -0800 (PST), Christopher Wilke wrote
> Ralf,
>
> On Tue, 2/25/14, R. Mattes wrote:
>
> > There is no such thing as "harmony below bass". Please, get
> > all out of your Berkeley Jazz shoes, now.
>
> No, everyone keep your
On Tue, 25 Feb 2014 05:28:26 -0800 (PST), Christopher Wilke wrote
>
> I agree that seicento pluckers often played "harmony below the
> bass."
How would you know.
> This is another way of saying that they recognized and used
> chord inversion
Now what? This definition is _disagrees_ with the exa
On Tue, 25 Feb 2014 09:52:18 + (GMT), Martyn Hodgson wrote
>
>
Thank's for this.
>
> I can't actually see that inverted 7 6 sequences dictate a non
> re-entrant tuning - the low tessitura one sometimes has is just part
> and parcel of the instrument. And I agree with the anonymous author of
>
On Mon, 24 Feb 2014 18:23:03 +0100, R. Mattes wrote
>
I hate to follow up my own posts.
> (f bflat) [1]. To be followed by a chain of 2nd chords ... Yes, we
> all know that a 7-6 chain can be inverted (double counterpoint) into
> a 2-3 chain but we also know this doesn't work w
On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote
> I don't have this work either - I think...
@Monica: are you by any chance refering to
https://www.facebook.com/media/set/?set=a.441553512620558.1073741827.253474818095096&type=1
(Bartolotti continuo and solo similarities - from
h
On Sun, 23 Feb 2014 16:00:22 -, Monica Hall wrote
> Does anyone have a copy of Bartolotti's continuo treatise - Table
> pour apprendre a toucher le theorbe sur la basse continuo (1669). I
> haven't been able to trace one online.
I don't think that treaties is online - not everything is ;-) Bu
On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
> I use 6+8. To me it makes more sense to have F and G as diapasons
> because they are used more often.
Sorry, but I don't get this. What has the statistical distribution
of F (vs. F#) and G (vs. G#) to do with the question of whether
F (and maybe
On Sun, 16 Feb 2014 12:15:23 +0100, adS wrote
> Dear lute-netters,
>
> has anybody out there read this article?
Only after you posted this link - thanks for doing so.
> http://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1112&context=ppr
>
> I wonder what others think about it.
Hmm - in
On Fri, 31 Jan 2014 15:42:16 -0500, Roman Turovsky wrote
> No one knows.
> The only thing known is that the combination of consonants TRB
> is absent in all European languages, except for the Slavic ones.
Where did you get this from? Just because I was drinking one while
your mail came in: Teber (
On Tue, 28 Jan 2014 09:36:47 -0800, Dan Winheld wrote
> Chris-
>
> "Modern gut,since its characteristics are quiet different from
> historical gut, does not provide an empirically reliable metric to
> determine pitch or tuning based upon string length."
>
> This bit I find very interesting. Except
On Tue, 28 Jan 2014 17:10:18 + (GMT), Martyn Hodgson wrote
>
>
> I'm sorry you find Bob Spencer's paper so very poor.
No need to be sorry, esp. since I don't find Spencer's paper "very poor"
(where did I write
that?). I only tied to say that it a) shows it's age b) seems to be an
"overview"-ty
On Tue, 28 Jan 2014 11:35:20 + (GMT), Martyn Hodgson wrote
> Have a look at:
This is either a non-answer (how utterly Zen) or pretty close to an
(ad hominem) insult.
> a) the early sources (Bob Spencer's famous paper still represents a good
summary http://www.vanedwards.co.uk/spencer/html/in
On Tue, 28 Jan 2014 11:56:46 +0100, Markus Lutz wrote
> This quote is part of a letter, and I think most letters show a very
> personal point of view.
Yes, this is important to point out.
> Also Weiss clearly states that he gives his opinion.
> He doesn't want to be descriptive or prescriptive at
ne must learn to think in the
> instrumentarium of a small number of terms and a large number
> of instruments. And within these terms, family has priority, So
> "lute" or "flute" or "viola" first refers to a family of
> instruments, and terms like archlute have a fami
On Mon, 27 Jan 2014 16:42:57 -0500 (EST), theoj89294 wrote
> I am not a musicologist, so please forgive my ignorance.
Don't worry!
> But I am
> confused, sometimes manuscripts are identified by notations such as,
> e.g. "RM 4137 olim Mf 2004" and sometimes as, e.g. "A-Wn MusHS
> 17706" - which ma
On Thu, 23 Jan 2014 21:30:16 -, Stewart McCoy wrote
> ...
>Catherine de' Medici was a Medici, so her son, the Duc d'Alencon,
> was the son of a Medici.
Family lines run on the _male_ side. And people back then where way more
picky about that ... ;-)
> [...]
> As with "Now,
> oh now", it
On Thu, 23 Jan 2014 09:30:45 -0500, Gary R. Boye wrote
> Dear Jean-Michel,
>
> According to the citations I have collected
> (http://applications.library.appstate.edu/music/lute/continuo.html),
> many of the Italian editions of Corelli's Op. 1 call for the tiorba:
I think Jean-Michel was refering
On Wed, 22 Jan 2014 07:56:16 -0500, Gary R. Boye wrote
>
> There are over 30 examples (with many reprints) where plucked
> strings are specifically mentioned as a possibility in Corelli's
> works . . .
Hmm, that pretty much boils down to Op. 1 and Op. 3 ... doesn't it?
And those are tro sonata
e peg will result in dramatic pitch
changes - that's actually how you now that you are approaching the
breaking point (without breaking the string).
Cheers, Ralf Mattes
--
R. Mattes -
r...@inm.mh-freiburg.de
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On Tue, 26 Nov 2013 15:29:41 -0500, Graham Freeman wrote
> All,
> There's no need for this silliness, and I have no idea why Sean seems
> to be turning this into a matter of ethics, despite not having
> read my message thoroughly.
Well, I can't speak for Sean, but I myself also must have
misread
On Sun, 24 Nov 2013 20:03:33 -0600 (CST), Herbert Ward wrote
> I contemplate writing an ear-training computer
> program. It would select random pitches from
> a scale and pair them with random note values
> to create a melody, which the trainee would
> listen to and try to reproduce (by voice or
>
Thank's for that post, I was very tempted to write a longish reply
myself (but it would have been more sarcastic).
On Thu, 07 Nov 2013 14:29:04 -0800, Tobiah wrote
> > Sample rate
> > Why start with the sample rate?
> > In a recording, you need to start at the end and work backwards. If
> > you re
To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Wed, 25 Sep 2013 19:54:38 -0400, Geoff Gaherty wrote
> On 25/09/13 7:20 PM, R. Mattes wrote:
> > Yes, I always try to avid open bass strings ... esp. on theorbo.
> >
> > Sorry, couldn't resist;-)
>
> That's the difference between a bowed string and a pluc
On Wed, 25 Sep 2013 23:50:01 +0200, David van Ooijen wrote
> On 25 September 2013 23:43, Geoff Gaherty <[1]ge...@gaherty.ca> wrote:
>
> On 25/09/13 3:34 PM, Dan Winheld wrote:
>
> Polar opposite to Jazz electric guitarists, who seemed to me to
> avoid
> open strings as much as p
On Wed, 25 Sep 2013 17:43:10 -0400, Geoff Gaherty wrote
> On 25/09/13 3:34 PM, Dan Winheld wrote:
> > Polar opposite to Jazz electric guitarists, who seemed to me to avoid
> > open strings as much as possible.
>
> The same is true of gamba players, who avoid open strings because of
> their differen
gt;>> regarded as something that would "choke" the very essence of
> >>> lute/vihuela sound. Polar opposite to Jazz electric guitarists, who
> >>> seemed to me to avoid open strings as much as possible.
> >>>
> >>> Dan
> >>>
> >>> On 9/25/2013 11:56 AM, Monica Hall wrote:
> >>>> There is a passage in Bermudo which seems to refer to the use of some
> >>>> sort of device to raise the strings of the vihuela a semitone or a
> >>>> tone. It is in Book 2, Chapter 36 f.30. It is referred to as a
> >>>> "panezuelo" which literally seems to mean a handkerchief but there is
> >>>> some doubt as to whether this is really what it means. He says that
> >>>> experienced players place this under the strings close to the nut
> >>>> (pontezuela) and this rasies the pitch of the strings.
> >>>>
> >>>> Maybe someone more of an expert on Bermudo can elucidate.
> >>>>
> >>>> Monica
> >>>>
> >>>>
> >>>
> >>>
> >>>
> >>> To get on or off this list see list information at
> >>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>
> >>
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
ne or a
> >>> tone. It is in Book 2, Chapter 36 f.30. It is referred to as a
> >>> "panezuelo" which literally seems to mean a handkerchief but there is
> >>> some doubt as to whether this is really what it means. He says that
> >>> experienced players place this under the strings close to the nut
> >>> (pontezuela) and this rasies the pitch of the strings.
> >>>
> >>> Maybe someone more of an expert on Bermudo can elucidate.
> >>>
> >>> Monica
> >>>
> >>>
> >>
> >>
> >>
> >> To get on or off this list see list information at
> >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> >
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Sat, 31 Aug 2013 17:01:23 -0500, Joshua E. Horn wrote
> Did not think of that,
>
> The extension is being changed to *.jtab,
Which would collide with JTab (http://jtab.tardate.com/) ;-)
Cheers, Ralf Mattes
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc
On Wed, 07 Aug 2013 10:42:08 -0400, r.turov...@gmail.com wrote
> H.
> Does this mean that I made a strategic mistake 20 years ago by never
> charging a penny for my wares?
Sorry, I don't understand your mail. What _are_ your wares?
Are you saying that you make money with your wares now bec
On Wed, 7 Aug 2013 11:23:07 +, Ron Andrico wrote
> Briefly, playing for free
> (or worse, paying to play) doesn't really do any lasting good. It
> only makes the potential audience think that your music should be
> free. We only play for free for children and for worthy causes
> aimed
On Wed, 7 Aug 2013 10:50:34 +0100 (BST), William Samson wrote
> I wonder how many early music 'acts' have an agent or a manager?
Probably very few.
> For a percentage of income, these people can take a lot of the
> burden of marketing and negotiation from the shoulders of the musicians
>t
On Tue, 06 Aug 2013 13:22:47 -0700, Nancy Carlin wrote
> Actually it's a combination of things. Some of them are balancing so
> many balls in the air that they don't have time to step back and
> figure out a 3 year plan for their careers. It was pretty well
> known that there are no (few?) lute pl
On Tue, 06 Aug 2013 11:56:49 -0700, Nancy Carlin wrote
> As some of you know I spent 35 years as an agent for musicians,
> between my 2 stints with the LSA - a lot of this time was working
> on building careers and salability for folk and Celtic musicians. I
> see a few things missing that other g
On Sun, 23 Jun 2013 09:17:31 +0200, Anthony Hind wrote
> I suppose, Leonard, if any effect, it would be more like loading, so
> possibly more damping than brightening. Although, it would probably
> be too thin to make an audible difference. Just my intuition.
> Regards Anthony
While the mass of th
bad batch?
TIA Ralf Mattes
P.S.: off course this always happens the day before an important
rehearsal ...
--
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Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
To get on or off this list see list information at
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for
quite some time ...
HTH RalfD
> Regards,
> Leonard Williams
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Fri, 30 Nov 2012 08:51:53 +0100, Andreas Schlegel wrote
> The lexicon, dated 1715, is available with this link:
> http://diglib.hab.de/wdb.php?dir=drucke/ae-12
>
> Andreas
Thanks for the link, what an entertaining read.
I love the food articles. So strings are _sometimes_ overspun with silver.
On Fri, 30 Nov 2012 12:24:39 +1100, Shaun Ng wrote
> Well, wouldn't this mean that every time we see a painting of an
> instrument with strings, we would have to consider one more
> stringing option, instead of just gut or wound?
Yes, as long as we ignore all no-iconographic sources of informat
um, eng. dyer's madder), a widely used colour until the
19th century.
> Krünitz is very late, but he sums up everything from the 16th to the
> 18th century. In his article on the lute he mentions beside others
> Besard, Baron, Weiss etc.
Yes, so utterly unuseable as a source for
e/urn:nbn:de:bvb:12-bsb00077420-5
> > 13. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00077412-0
> > 14. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00077413-6
> > 15. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00077414-1
> > 16. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00072008-2
> > 17. http://nbn-resolving.de/urn:nbn:de:bvb:12-bsb00031267-3
> > 18. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
e
app (I really like their 18th century fortepiano models). This is neither
a sample player nor a syntesizer, the sounds a generated according to a
mathematical model of the instrument.
HTH Ralf Mattes
> Best regards, Wim Loos
>--
>
> To get on or off this list see li
;>> as
> >>> the 5 course guitar would do, though without the struming technique.
> >>> The solo repertoire that came later looks very close to the guitar
> >>> writing: chords a little counterpoint, arpeggios, slurs, campanellas
> >>> efect e so on...
> >>>
> >>>
> >>>
> >>>
> >>> --
> >>>
> >>> Bruno Correia
> >>>
> >>>
> >>>
> >>> Pesquisador autonomo da pratica e interpretac,ao
> >>>
> >>> historicamente informada no alaude e teorba.
> >>>
> >>> Doutor em Praticas Interpretativas pela
> >>>
> >>> Universidade Federal do Estado do Rio de Janeiro.
> >>>
> >>> --
> >>>
> >>>
> >>> To get on or off this list see list information at
> >>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>
> >>
> >
> >
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Mon, 8 Oct 2012 14:28:00 +0200, R. Mattes wrote
> On Mon, 08 Oct 2012 13:24:20 +0200, Luca Manassero wrote
> > Dear List,
> >I will spend a week in Berlin to attend various meetings. I
> > am sure I'll be able to reserve a bit of time for anything lute-re
on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Mon, 3 Sep 2012 09:22:11 -0400, William Brohinsky wrote
> I have one. I have had it for a few years. For piano tuning, it is
> not a choice.
>
> For just about everything else, it is wonderful.
>
Please correct me if I'm wrong - but isn't this tuner out of stock
sin
stic properties. And of course I could
work from commercially sold thick wire down to the wanted diameter.
"They" had to start with a hammered-down, pull-streched wire (probably
tempered during the process, otherwise the string would get too britle).
Cheers, Ralf Mattes
--
R.
since the Minkoff edition is out
of print since more than two years now it's perfectly legal (over here in
ol' Germany at least) to make copies of the book (IANAL, only citing a
publication by BitCom, a rather pro-copyright organisation).
Cheers, RalfD
--
R. Mattes -
Hochschule fuer Mus
t; >>>>
> >>>> - Original Message - From:
> >>>> To: ;
> >>>> Sent: Wednesday, May 16, 2012 4:04 AM
> >>>> Subject: [BAROQUE-LUTE] Minkoff contact
> >>>>
> >>>>
> >>>>>
> >>>>> Dear list.
> >>>>>
> >>>>> Does anyone know where to get permission to reprint tablatures from
> >>>>> Minkoff Reprint, as Sylvie Minkoff has sadly past away?
> >>>>>
> >>>>> Best
> >>>>> Robin Rolfhamre
> >>>>>
> >>>>>
> >>>>>
> >>>>> To get on or off this list see list information at
> >>>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>
> >>
> >>
> >
> >
> >
> >
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
> >
> >
> > Go to http://digital.staatsbibliothek-berlin.de/dms/suche/
> >
> > and search for
> >
> > Lautentabulatur
> >
> > Rainer
> >
> >
> >
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> >
> >
> > --
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Wed, 22 Feb 2012 09:53:01 -0500, Leah Baranov wrote
> Any 99cent store or hardware/kitchen place sells inexpensive
> rolls of rubberized shelf liners in a variety of colors including black.
>Leah
I'd be rather cautious with those - someif not most of the soft and
sticky plastic material
On Tue, 21 Feb 2012 13:52:26 +0100, R. Mattes wrote
>
> Donata's article I linked to does mention it (footnote 15. page 389/page
> 19 of the article) - Paris. Too bad, but kind of typical for their
> "editorial" process. And their repoduction technique ("photo
apeared ... But I _think_
they used London. But don't sue me on that.
Cheers, RalfD
>David
>--
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
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Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Mon, 20 Feb 2012 11:31:24 +0100, R. Mattes wrote
> On Sun, 19 Feb 2012 23:42:37 +0100, David van Ooijen wrote
>
> > Does someone have the AR-edition at hand
> > to check the preface to see what David Dolata has to say?
>
> It's in our library, but I might be
in our library, but I might be too bussy to check this week.
Cheers, RalfD
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
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tly due to
the fact that the two facsimile prints use different originals but I might
be wrong here ...).
Cheers, Ralf Mattes
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
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hand
> LCA-120 is very handy, flat and has a big LCD which is very good
> for a concert situation. Any thoughts? All best Jaroslaw To
> get on or off this list see list information at
> [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>--
>
> Re
On Tue, 10 Jan 2012 12:21:18 -0800 (PST), Christopher Wilke wrote
> Howard,
>
> --- On Tue, 1/10/12, howard posner wrote:
> >
> > Have you read Rimsky-Korsakov's Principles of
> > Orchestration? It comes from precisely this
> > period. (You can find English versions online)
> >
>
> I've rea
gt;
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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r...@inm.mh-freiburg.de
Director back then, was probably one of the
most important promoters for early music (esp. medieval music) in
Europe. And of course there's still the Documenta series of the
Schola Cantorum Basiliensis with more than 70 productions.
Cheers, Ralf Mattes
-- R. Mattes - Hochschule fuer Musik
On Sat, 26 Nov 2011 23:07:13 -, Stewart McCoy wrote
> Dear Stuart,
>
> I think "Ich beger nit mer" would be "Ich begiere nicht mehr" in modern
> German, meaning "I long no more".
Just for the records: there's no such word as "begieren" - modern german
verb is "begehren" (↗ mhd. 'gêren').
Ch
s missread 'w' as 'lb').
HTH Ralf Mattes
> http://www.youtube.com/watch?v=HInorS2jmIk
>
> Gilbert Isbin's 'Recall', (August? 2011)
>
> http://www.youtube.com/watch?v=yKJxE7mTkmg
>
> Stuart
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
> I'm still waiting to hear from my lutenist.
>
> Monica
> >
> > David
> >
> > --
> > ***
> > David van Ooijen
> > davidvanooi...@gmail.com
> > www.davidvanooijen.nl
> > ***
> &g
On Tue, 22 Nov 2011 14:15:00 -, Monica Hall wrote
> > My failsafe test for looses braces: take a tuning fork (preferably a
> > heavier one, like a low C fork), strike it, put the end on the sound
> > board and run it along the center and the sides of the top.
>
> But what happens then? I trie
on myself, particularly, but I'd have thought
> that these fancy rosettes are a place where buzzing might be
> located too - some little bit of parchment waggling like a tuning
> fork maybe? Again, that could be influenced by humidity. Then
> again there are the inlays
Mattes
> Monica
>
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
cuse my ignorance, but since when are gut strings made out of
beef gut? I always assumed that Aquilla's gut strings are made from
sheep gut.
Cheers, Ralf Mattes
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
To get on or off this list see list information at
http:
On Wed, 17 Aug 2011 10:26:53 +, Ron Andrico wrote
> Hello Ralf:
>Besard's 1617 print is the result of engraving - the medium of
> wood or copper or whatever matters less than the distinction of
> typeset with moveable type versus engraved plates.
No, sorry. Please let's be a little
sician. A bad case of vanity publishing. Is the book
>> engraved or printed from type?
>>
>> Monica
>>
>> >
>> > --
>> > ***
>> > David van Ooijen
>> > davidvanooi...@
t; > based on MusicXML, lead by a famous lute scholar in England'
> >
> > must surely refer to Tim Crawford's work - see:
> >
> > http://www.doc.gold.ac.uk/~mas01tc/web/
> >
> > Best wishes,
> >
> > Denys
> >
> >
> > -O
edu/~wbc/lute-admin/index.html
>
>--
>
> References
>
>1. http://www.musico.it/lute_software/beiertab.htm
>2. mailto:d...@dolcesfogato.com
>3. http://www.theaterofmusic.com/fronimo/index.html
>4. mailto:lute-...@cs.dartmouth.edu
>5. mailto:lute-...@cs.dartmouth
[RISM B/VII p. 271; SMT I p. 82]
* 14-course theorbo in French tablature
now, that's 20-50 years of your dating (and that of the earliest
De Visee guitar publication).
Cheers, Ralf Mattes
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
To get on or off
On Fri, 12 Aug 2011 12:41:04 +0200, Andreas Schlegel wrote
> > Did De Visee write that part about the tenth fret? That would be
> > strange since that would shurely be a 'd la sol' (note: no re here!).
> > Otherwise high might refer to the guitar's lowest note, d (open
> > forth course), but that
te: no re here!).
Otherwise high might refer to the guitar's lowest note, d (open
forth course), but that wouldn't be "high D la re" but a "D sol re".
Very strange ...
> One should not forget to put an octave on the fourth course
> because it is very necessar
t; that since the scored version is a forth higher that implies a theorbo
> > tuned a forth higher.
>
> An idea that was positively maintained e. g. by Jose Moreno in the booklet
> to his CD with music by de Visee. I agree with you in doubting it.
>
> Mathias
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
the resp. instruments range.
> > I don't think we need to assume equal pitch for the different scorings
> since there
> > seems to be no indication that these are meant to be used together.
>
> By different scorings you mean theorbo tablatures and the 1680ish / 1716
> sc
is makes sense since the guitar with
> > re-entrant 5th course will have the 4th course as its lowest
> > pitch, so as to be really "in d."
> >
> > Chris
> >
> > Christopher Wilke
> > Lutenist, Guitarist and Composer
> > www.christopherwilke.com
> >
> >
> >
> >
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
even there there seems to be no indication that the music
is meant to be performed together with the guitar.
Cheers, Ralf Mattes
> Chris
>
> Christopher Wilke
> Lutenist, Guitarist and Composer
> www.christopherwilke.com
>
> To get on or off this list see list in
4" plug or
> adapter held near the lute top does a pretty good job of discriminating.
Yes, an awfully nice tuner - but unfortunately the ST-122 is "Out of stock
until further notice" for at least a year now. Too bad.
Cheers, RalfD
> ray
>
> To get on or off this li
; To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
but one that calibrates to 392 would ease my suspicions.
>
>Garry
>
>--
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
baroque harpist, and this kind of improvisation stuff
> could be most enjoyable! And I've done these two in a course in
> Bremen in the beginning on 90's...
I'll use the Pasquini ones in a course next weekend :-)
HTH RalfD
--
R. Mattes -
Hochschule fuer Musik Freiburg
r.
On Wed, 9 Mar 2011 15:10:11 +0100, Alfonso Marin wrote
> Selling price: [WINDOWS-1252?]4400
>
> Here you can watch some pictures:
>
> http://www.lutevoice.com/Haycock/
And you may wonder why you can't see any pictures on this web page ...
Yet another page that needs activated Java Script to di
On Wed, 9 Mar 2011 15:06:09 +0100, Mathias Roesel wrote
> *waves hand*
*waves hands too*
Actually, once used to it it's a pretty neat shorthand notation. I sometimes
use it it sketch fingerings/chord shapes for continuo playing ...
Cheers, Ralf Mattes
> Mat
>
> > -Ursprüngliche Nachricht-
frets in such a way as to
> > intensionly cause the strings to buzz on the equal frets. It would be
> > interesting to experiment such a set-up, to see what happens.
> >
> >
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
R. Mattes -- Systemeinheitsstreichler
Hochschule fuer Musik Freiburg
r...@inm.mh-freiburg.de
On Tue, 21 Dec 2010 02:19:23 -0800 (PST), Anton Birula wrote
> --- On Mon, 12/20/10, Anton Birula wrote:
>
> > From: Anton Birula
> > Subject: [LUTE] Re: BAROQUE LUTE FOR SALE
> > To: lute@cs.dartmouth.edu
> > Date: Monday, December 20, 2010, 1:37 PM
> >
> > > Baroque lute by Martin de Witte 19
On Fri, 22 Oct 2010 15:30:18 +0100, Peter Martin wrote
> Thanks for this lead!
>
>I've just downloaded Laute und Lautenmusik.
>
>on page 17, taking an example from Neusidler, he suggests that an
>quarter note C followed by eighth notes C and D should be interpreted
>as a dotted qu
On Thu, 21 Oct 2010 07:22:46 -0700 (PDT), mc41mc wrote
> I refused to read this, as there were .gif images on the page.
> As I'm sure you are aware, the .gif format is proprietary, and I
> see no evidence that the proper licencing fees have been paid to Unisys.
Nonsense! The GIF format is
On Thu, 21 Oct 2010 14:31:17 +0200, Thomas Schall wrote
> I guess this would count as performance and clearly is an
> infringement of copyright law. IMHO copyright (in the US) has very
> good intensions but it's a law that is hard to follow and is
> contradictional to common sense and habits. I'
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