I think it also allows a lute maker to use a wood such as pine, which
is relatively light in relation to its strength; and then to cover it
with a veneer of ebony or similar.
However, I have heard some people suggest that an ebony veneer can be
slightly slippery for certain hands, as opposed
Le 24 oct. 06 à 10:03, [EMAIL PROTECTED] a écrit :
I think it is interesting because her performance uses much less vocal
technique than sting and if elizabethans were untrained (which was
most likely not
the case) then they may have sounded more like this. English folk
singing maybe
Jacob Heringman who plays with gut on recordings told me that he
prefered 64 or 67 or 71 lengths for better range of tone. He said that,
On the Pickeringe, some of the pieces are on a 64-cm lute, and some
on a 58-cm lute. And on the Siena, I play four lutes: 2 at 60 cm, 1
at 59, and 1 at
Stewart
I agree with Caroline Usher's interpretation. There is clearly a
hierarchy in terms of perceived size, from Sun (largest), to stars
(smallest). under in Underlights, would then have a similar
function as under in underling.
Anthony
Le 7 nov. 06 =E0 16:55, Caroline Usher a
Wouldn't a small advantage for the tabulature be that a specific
position for obtaining a note can be made explicit?
The tone could be different according to the way it is acheived (e.g;
open strings or not), or am I completely mistaken, here?
It is late and I might be becoming a little
0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
My original message did not get through to the list, I suppose it is
because it contained an image, or because it contained a web address.
I will remove all these.
A.H.
Le 15 nov. 06 =E0 10:12, Martin Shepherd a ecrit :
Dear PNK,
RT is right - you have to change all the strings, so it's not
) from the Musée de
la musique.
Regards
Anthony
Le 15 nov. 06 à 19:29, Anthony Hind a écrit :
My original message did not get through to the list, I suppose it is
because it contained an image, or because it contained a web address.
I will remove all these.
A.H.
Le 15 nov. 06 =E0 10:12
But wouldn't it be even stronger at 415 by changing the strings for
ones giving equal tension to the 440 Hz tuned strings.
I mean is it the lower tension that makes the 66,5 cm strung lute
sound stronger, or is it the tuning?
Anthony
Le 27 nov. 06 à 18:35, David Rastall a écrit :
On Nov
Dear All
In Lute News N=B079, P.25, we can read that The January 2006 (Vol
24, N=B0 05) issue has a paper on the technique of using the left
thumb, over the edge of the neck (seen
in some renaissance lute paintings) and often seen in folk guitar
techniques. I suppose the article
/Portraits.html#top).
but I may be mistaken, and this may not be his playing position.
All the best
Anthony
All best,
Joachim
Anthony Hind mailto:[EMAIL PROTECTED] schrieb:
Dear All
In Lute News N=B079, P.25, we can read that The January
2006 (Vol
24, N=B0 05) issue has a paper
Grand Domaine
Boulevard des Dames 26
13002 Marseille
France
www.cetrapublishing.com
www.magnatune.com/artists/docrossi.html
[EMAIL PROTECTED]
[EMAIL PROTECTED]
tel: (+33) (0)4 91 52 90 45
cell: (+33) (0)6 80 01 58 47
On Nov 30, 2006, at 4:19 PM, Anthony Hind wrote:
Le 30 nov. 06 =E0
portraits, and a musical example.
And some other pictures.
http://mysite.verizon.net/arthurjness/thumb.html
==ajn.
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; Lute Net
lute@cs.dartmouth.edu
Sent: Thursday, November 30, 2006 10:19 AM
Subject
Dear Mark and all
I think that is a very interesting comment.
There are photos of Jazz musicians on Jean-Marie's site who appear to
be using
the thumb blocking method, but it could well be that this is
damping : a little like the damper
on a piano in fact. Well in the rock example, I
under
are taken.
best regards,
Sean
On Nov 30, 2006, at 10:51 AM, Anthony Hind wrote:
Sean and All
There seem to be two questions here, the first is whether the thumb
was used, and
the example given was a plausible case of this; and the other is
whether there is another
way out
, Sean Smith a écrit :
Well, I'm glad we cleared that up. What's next?
Mensural vs Tab?
Gut vs Nylon?
World peace?
tout le best,
Sean
On Nov 30, 2006, at 2:18 PM, Anthony Hind wrote:
Sean
I think, thumb-over is a very good term. I agree, that if there
was only one possible
Thumb
behind, maybe? --I seem to recall that Thumb out and Thumb under
are taken.
best regards,
Sean
On Nov 30, 2006, at 10:51 AM, Anthony Hind wrote:
Sean and All
There seem to be two questions here, the first is whether the thumb
was used, and
the example given was a plausible
Yes I did understand that the damping could be used to prevent
sympathetic resonances (but I though this would be more appropriate
to your electric guitar example with pick-up).
At first thought, I am surprised this could be as big a problem with
unwound gut strings as with wire-wound. I did
Never having played wih a plectrum or used strumming techniques
I did not think about the 'wild strumming' hitting wide of the target
as it were,
and this being equally true of strumming with fingers.
But in an earler message you mentionned the following, I find at
least on the cittern
that
Dear Art and All;
I will answer yourquestion with an anecdote, if I may :
In September, here in Paris, in search of both authenticity
and the exotic, I underwent a sublime « dépaysement » when I went to
see the Korean national theatre production of Le Jeu du Kwi-Jok ou
Le Bourgeois
David
I am certain you would have enjoyed it. I am pleased to have been
able to let you know about it.
I don't understand why there was so little interest around it. It
didn't seem to be picked up by any
early music sites; I suppose it fell in between all existing categories.
Anthony
Le 5
Dear All
Is it possible to use this list to spread the word about a summer
lute course that is going to take place in the UK parallel to thee
Dolmetch Recorder and Viola da Gamba Course.
Please let me know if there is any rule against this.
Regards
Anthony
To get on or off this
Dear All
I want to inform you that Miguel Sedoura is going to organize a lute
course this coming summer, in parallel with the Dolmetch Recorder and
Viola da Gamba course :
Anthony
Summer Lute Course at Frensham Heights. United Kingdom (21 to 29 July
2007)
Teacher : Miguel
Dear All (correction of previous message)
I want to inform you that Miguel Serdoura is going to organize a
lute course this coming summer, in parallel with the Dolmetch
Recorder and Viola da Gamba course.
However, in my previous message, I forgot to indicate the inscription
contacts
Dear All (new correction to previous message, taking account of Ron
Fletcher's suggestions)
I want to inform you that Miguel Serdoura is going to organize a
lute course this coming summer, in parallel with the Dolmetch
Recorder and Viola da Gamba course.
However, in my previous
Dear Art and All,
If I answered somewhat aside, telling you about the most impressive
dance version that I have ever seen of Lully's Bourgeois Gentilhomme,
the Korean National theatre version or le jeu du Kwi Jok, it is first
because I feel it is quite unfair to judge any performance
In the Paris FNAC, I bought all the previous Bartos that were still
available, but I didn't see N°8 (and two others were missing). The
French importer, I was told, has been bought up, and Naxos records
being fairly cheap are running very low in stock. The recordings seem
exceptional for
. AND all the BIS catalogue
too, so plenty of Jakob
Lindberg, as well as non-lute goodies such as the
Masaaki Suzuki Bach
cantata set. Well worth getting. www.naxos.com
P
2006/12/23, Anthony Hind [EMAIL PROTECTED]:
In the Paris FNAC, I bought all the previous Bartos
that were still
Dear Vance, Art, Stewart, Stuart and All,
How nice it would be indeed, Vance, if we could but sleep it off,
wake up to find it has all been a bad dream. It is a bad dream, a
living nightmare for so many people out there, troops and civilians.
It is not a subject for this list, but I have to
The Old Ones? A style of playing
based on age old patterns and pedagogy that keeps it similar to the
music of the middle ages? A combination of the above or something
else altogether?
Craig
Craig R. Pierpont
Another Era Lutherie
www.anotherera.com
Anthony Hind [EMAIL
I think the conflictual situation in Palestine is central to the
problem in the whole area where old cutural links are breaking under
impossible tensions. You may consider your attempts to help people
find or keep open such cultural links as lofty and naîve, but any
such effort, I am sure
It depends whether we are talking about professional or amateur
recording. If it is professional, Jacob Heringman says, in reply to
the following question by Ed Durborow.
What mics and placement did you and your engineer settle on for your
last solo recording?
Always B and K 4006s, one
You can email them here [EMAIL PROTECTED] At one time they sold
almost in bulk, not really individual strings, but this may have
changed.
Regards
Anthony
Le 7 févr. 07 à 13:02, Stephan Olbertz a écrit :
Dear all,
the bridge of my baroque lute came off recently (ouch), but it has
been
If price is the only determining factor you could try some banjo
strings, but I understand they do not last very long.
Have a look at the prices at http://gourdbanjo.com/GBhtml/gut.html
I think you can buy Sofracob also from http://www.londonviolins.com/
What is a Shamisen string? I see what the instrument must be http://
jtrad.columbia.jp/eng/i_shamisen.html
but is it a nylon type string?
I have heard that Charles Besnainou (I think of the CNRS) makes some
sort of woven nylgut strings to use for Baroque diapasons.
I imagine this technique
Andrew, Edward, Stephen and All
I agree whole-heartedly with Edward's message, I am but an amateur,
and in a way amateurs have an advantage over professionals. The
difficulty with gut (as suggested by Ed.) is mainly when a large
concert room fills up with people and the humidity
David
When I think about it, I suppose stringing an archlute in gut would
be similar in difficulty to striging a Baroque lute, if string length
and the number of courses is the problem.
Thus if you can keep an archlute strung in gut, it should be possible
to do the same with a
Dear Benjamin
I am sure we would all be pleased to hear about the results of your
experiments. It is a pity the Sony ECM-MS907 does not have sufficient
out-put.
At present, I use a Shure microphone with the preamplifier on my TC-
D5M Sony Cassette recorder before the M-audio ADC and
regards
Anthony
Le 8 févr. 07 à 15:35, Ed Durbrow a écrit :
On Feb 8, 2007, at 2:49 AM, Anthony Hind wrote:
PS I really enjoyed your web interviews of luthists. Are you thinking
of carrying on this excellent work?
I've sent two interviews by email to two famous lutenists but haven't
heard
just curious as to what makers have to say about this idea. Isn't
it possible to get an idea from the construction and material of a
historical instrument what approximate optimum tension the instrument
was designed for?
On Feb 8, 2007, at 8:19 PM, Anthony Hind wrote:
However, the solution may
for the 12th
13th courses, but the sound is fabulous in gut. No, it does not
cause extensive string damage ( exception - trebles). Some of my
bass strings have been on for over 10 years, and they actually
improve with age.
ed
At 11:19 AM 2/8/2007 +0100, Anthony Hind wrote:
Andrew
Gut strings over 114 cm? Is that really a question???
Dear Anthony and all other string users
Gut strings over 114 cm? Is that really a question??? Did they used
Pyramid strings in the early 17th century???
That had been a belief expressed on the French site by one person,
who I quoted.
recording of 11 course Weiss. Both have 11 course lutes
entirely
strung in gut, and they are astonishingly beautiful.
ed
At 06:34 PM 2/8/2007 +0100, Anthony Hind wrote:
Dear Ed
The 14 course Gottlieb lute had a superb sound, and the
extra length
of the swan-neck may indeed
by the bridge, is also
potentially
revolutionary, as well.
I have not yet experimented with the light tension, plain gut, new
technique, etc.
We have a great deal more to learn.
ed
At 11:45 PM 2/8/2007 +0100, Anthony Hind wrote:
Gut strings over 114 cm? Is that really a question
if it is) gimped
or loaded or loose wound strings might be a possibilty.
Do you have any suggestions.
Regards
Anthony
Le 9 févr. 07 à 00:15, Howard Posner a écrit :
Anthony Hind wrote:
The person I quoted realised they had made a mistake, but my question
coming from that was, does length play any role
not get
it right, and I did not have to touch a peg. The new gut strings
are so
much better than a few years ago. The processing changes, by some
string
makers, have stabilized the pitch problem.
ed
At 11:13 AM 2/9/2007 +0100, Anthony Hind wrote:
I have not heard Toyohiko
Dear David
Thank you for your reply which shows my memory did not completely
fail me after all, but my lateral thinking nevertheless was a little
too far to the side, not to say skew-whiff!
Do you use Nick's strings mainly on the top (high-twist, or also in
the mid)? Is it fair to
Dear Robert
Thank you for putting me back on track. If I understand you
correctly, length plays no role at all. Perhaps the confusion comes
from some lutists considering their 67cm transitional lutes as G
lutes. I have heard this from lutists on a number of occasions. I
assume that
.
synthetics. That may, or may not be the case. However, I can tell
the difference when performing, and that is what matters... I
always want to give it my best shot, that is with the best
sounding string.
ed
At 11:28 AM 2/10/2007 +0100, Anthony Hind wrote:
To all who do not find
Looks like a case for Peter Schickele, the arclute feller's there and
right up front, but blowed of I can hear him, because it kinda looks
nice ?( www.schickele.com/).
However, best not to judge from a YouTube recording.
Anthony
Le 10 févr. 07 à 16:16, Daniel Shoskes a écrit :
is my
true sound.
- Original Message - From: Anthony Hind
[EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Saturday, February 10, 2007 11:28 AM
Subject: [LUTE] Slightly off the gut topic?
To all who do not find this too off topic
Choice of strings and choice
Le 10 févr. 07 à 18:48, Howard Posner a écrit :
On Saturday, Feb 10, 2007, at 09:27 America/Los_Angeles, Anthony Hind
wrote:
Looks like a case for Peter Schickele, the arclute feller's there and
right up front, but blowed of I can hear him, because it kinda looks
nice ?( www.schickele.com
a set of Martin Logan electrostatic speakers connected to my
stereo. I have never heard lute music sound so faithful to a live
performance as on these speakers.
DS
On Feb 10, 2007, at 1:11 PM, Anthony Hind wrote:
And then there's just a plain tip: the Quad electrostatic speaker
reveals
Announcing a new CD collection from the SFL
New at the French Lute Society : A collection of discs devoted to the
lute!
1st publication: MARCH 2007 !
French lute players in the XVII century. CLAIRE ANTONINI, Baroque lute
Bond: CLAIRE ANTONINI : http://sf-luth.org/?La_S.F.L./Lettre_d%
David et al
Just a few thoughts in response to your message
I, too, am guilty of searching for a tone that comes close to my first
musical experience. Like so many of today's lute players that was
playing a
modern guitar, heavily build and strung with nylon and overspuns,
played
Dear Chris et al,
The details about the Claire Antonini Baroque lute record (composers
and pieces) are are now on the SFL site
at http://sf-luth.org/?Disques/CD_1
regards
Anthony
New at the French Lute Society : A collection of discs devoted to the
lute!
1st publication: MARCH 2007 !
Dear Chris et al,
I asked for clarification about the packaging and postal costs for
the Claire Antonini Baroque lute record Les Luthistes Français au
XVIIe siècle. Claire Antonini, luth Baroque, Paris, 2006 details on
the SFL site at http://sf-luth.org/?Disques/CD_1
The price of the
in
France
2 Euros, for the EU and USA, and presumably elsewhere, 3 Euros.
Anthony
Le 15 févr. 07 à 11:19, Anthony Hind a écrit :
Dear Chris et al,
I asked for clarification about the packaging and postal costs for
the Claire Antonini Baroque lute record Les Luthistes Français au
XVIIe siècle
Martin
As you know I am not a specialist, but found a few sites where
guitar makers are raising the same questions as you are. They appear
to be looking at cherry, walnut, and redwood.
I am not sure what woods they are hoping to replace with these.
However, I heard that some lute
Just a thought
the Mary Burwell lute tutor whose author is very much
against veneering the neck with ebony because it's cold and the
frets
slip too easily - also he/she seems very keen on keeping the weight
to a
minimum. Avoiding ebony (except for the fingerboard) could result
in a
of concept.
Perhaps before LSA next year.
Best,
Rob Dorsey
http://RobDorsey.com
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Thursday, February 15, 2007 8:23 AM
To: Martin Shepherd; Lute Net
Subject: [LUTE] ebony etc
Martin
As you know I am
visible
grain which would take stain differently and still be noticeable,
so it
wouldn't look all that much like ebony.
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Thursday, February 15, 2007 11:41 AM
To: Martin Shepherd; Lute Net
Subject: [LUTE] Re: veneer
block and laid strips of kraft paper on with shellac as a binder.
It was actually quite light and strong but looked like a paper
sack. Sounded pretty good too. Go figure.
Best,
Rob Dorsey
http://RobDorsey.com
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED
, did you ever hear a
quiet gun? So it follows that walnut must make a loud instrument.
Craig
Craig R. Pierpont
Another Era Lutherie
www.anotherera.com
Anthony Hind [EMAIL PROTECTED] wrote:
Rob
I love the look and feel of walnut. So if it works that could be
excellent. However
Following recent communications, I see a few paradoxes about Walnut,
you may have more satisfactory and scientific answers than I do, but
here goes :
1. Why no historic walnut lutes :
Martin, and other lutemakers, have proved that Walnut can be used to
make good lutes. Why then do we not
Hello
I seem to have Fantasy 1, 2 3. Do you need them all?
Regards
Anthony
Le 6 mars 07 à 17:36, Narada a écrit :
Hi,
Has anyone got A Holborne's Fantasie in written form ( .pdf, fronimo
etc )
Regards
Neil W
--
To get on or off this list see list information at
Dear David and Rebecca
I entirely agree about 1st and 2nd, but I have just found that one
of my 3rd course strings has just begun to ring un-true, after a
year. This was a Sofracob gut I think. The other seems quite well. I
have 73 HT on the 4th, and 1,04 Lyons on the fourth. I have a
Dear David and Ed
assumed my lute maker knew the instrument well enough to make those
judgement for me.
I grant he knows his instrument. But does he have the same playing
experience you have, or even identical technique, fingers not to
mention
taste? So do experiment.
David
Le 10 mars 07 à 21:51, Edward Martin a écrit :
I do not know, as I have not used Baldock strings, and I am
unfamiliar with
Aquila gut, with exception of the loaded strings, which I dislike,
as they
are false.
ed
Yes, I note that most lutists only use them on open courses. It seems
I'm using two of these strings on my 10 course. They were
experimental strings
and sound great, diameter about the same as a gimped equivalent.
And I can
say that they do not become false. Unfortunately Dan stopped with the
process.
Taco
Dear Taco
Thank you for the information.
Anton
I notice that gambists such as Ghielmi do create new Renaissance and
Baroque pieces that even seem to move into the area of contemporary
music; but perhaps the instrument is more open to sound
experimentation than the lute. When we think of the sounds produced
by the music of
Le 15 mars 07 =E0 17:37, David Rastall a ecrit :
On Mar 15, 2007, at 11:25 AM, Doctor Oakroot wrote:
The double bass is a viol that's lost its frets, not a violin.
So where did the violin (and presumably the cello?) come from?
David
I don't know if this is correct, but I read
Following a
I missed out the more relevant part :
The viola da braccio resulted from reducing the number of strings of
the vielle to three or four, adopting the pegbox and the lateral pegs
of the rebec as well as the tuning in fifths, which is most
convenient for small arm instruments as it allows the
I had heard similar remarks; but I was told that the contrast was
between flat soundboards and curved ones (rather than thin ones).
However, when, in London at the UK lute meeting, I heard Lindberg's
ancient Rauwolf that has a soundboard dating from the 17th century or
so, it seemed this
instrument just isn't happy and
seems different? I think violinists have commented on this as well.
Best wishes,
Martin
Anthony Hind wrote:
I had heard similar remarks; but I was told that the contrast was
between flat soundboards and curved ones (rather than thin ones).
However, when
Le 25 mars 07 à 13:06, Ed Durbrow a écrit :
This has been much more of a problem with gut for me. When I got my 8
course some years back, it had some loaded strings which sounded
gorgeous, but as soon as you moved up the fretboard they became
horribly out of tune with the octave string.
Hello Kevin
My 60 cm string length 7c Gerle, made by Martin Haycock, has a
central rib of about 62 cm. I don't know which Gerle it was based on.
The ribs are in Bird's eye maple. You should be able to access a
picture via this link :
%20playing/
lute2.jpg border=0 alt=Photo Sharing and Video Hosting at
Photobucket/a
http://i105.photobucket.com/albums/m215/ag-no3phile/lute%20playing/
lute2.jpg
Regards
Anthony
Le 26 avr. 07 à 14:29, Anthony Hind a écrit :
Hello Kevin
My 60 cm string length 7c Gerle, made by Martin
Hello Josh and Matthias
I tend to agree with Matthias. Although, the 6 course is a beautiful
instrument and the 8 to 10 course would allow you to play the later
music as well as the notes of the earlier music, the 7 course is a
good compromise. Unless you have already decided on
John
I began playing the lute about 30 years ago. I briefly had a teacher
(for a few months until he left Paris) but I thought I had acquired
the basic technique.
I stopped after about two years, because I realised that when ever I
needed to sit down to write my thesis, I found I
David
May I ask you whether you use both techniques on the same piece, for
a special effect, or only when you change music types (eg music
before 1600 thumb-in, Post 1600, Dowland and those that follow, thumb-
out)? Was the change gradual and not deliberate (determined by the
increase in
Le 2 mai 07 à 23:29, [EMAIL PROTECTED] a écrit :
Why is indeed a question, but we have considerable pedantic
evidence that
only three fingers and thumb were used of the right hand; none of the
tutors provide a notation for the fourth finger, and nothing is
seen in
any ms or printed
Le 11 mai 07 à 12:40, Mathias Rösel a écrit :
LGS-Europe [EMAIL PROTECTED] schrieb:
The (British) Lute Society has a publiation with 19 English Folk
Songs,
arranged for voice and renaissance lute (well done, Chris!).
These are very
suitable.
Indeed, and there is the newly published
It depends on the chemical composition of the oils of your hands.
On my lute the mark tends to turn a green colour. I have been told to
use a little spit put-on with a finger to help remove this.
Apparently the spit digests some of the oils. I was also told to
wipe the lute frequently with
I tried a piece of cling film. It was alright as far as lightness and
contact, at least you could feel the sound-board through it. I think
that may be important, but it tends to make your finger too hot and
also very humid. I thought of using a mini chamois leather, or micro-
pore, glove;
,
Sean
Caroline Usher [EMAIL PROTECTED] wrote:
Anthony Hind wrote:
On two slightly different topics.
I have seen lutists using a wooden tool to turn pegs. I wouldn't mind
buying one of these myself; however, is there not a risk of breaking
a peg or even the peg-box?
Not if you know when
this new woven-silk lute-strap
extremely elegant.
Regards
Anthony
Le 14 mai 07 à 17:55, Caroline Usher a écrit :
Anthony Hind wrote:
On two slightly different topics.
I have seen lutists using a wooden tool to turn pegs. I wouldn't
mind buying one of these myself; however, is there not a risk
noticed that
the table seemed to allow the resonances to develop. This might be
similar to corner horn speakers whose opening rely on the walls to
give them their full development.
Regards
Anthony
Andrew
On 14 May 2007, at 17:46, Anthony Hind wrote:
Thanks Sean
I will try this more
for more than a few measures.
There's always the historically documented position of sitting at a
table with the front edge of the table propping the lute. Does anyone
play like this now? Perhaps tables were smaller in those days...
Andrew
On 14 May 2007, at 17:46, Anthony Hind wrote:
Thanks
Ron
I have to admit that I haven't heard or read Christopher Morrongielo
on this research into lute tables (does any one have references? I
did a wb search and came up with nothing, in this area), so my
imagination and inventive inclinations may have got the better of me.
In fact this just occurred and I stopped for five minutes or so to
write you my previous message. I then went back to my lute and the
normal reading mode had returned.
Could this simply be momentary tiredness, a need for a new pair of
glasses, or
?
Anthony
To get on or off this list see
cure ( not fully ) is to drink say
5 pints
instead of 6.
Hope this helps
N
-Original Message-
From: Anthony Hind [EMAIL PROTECTED]
Sent: 16 May 2007 16:23
To: Lute Net
Subject: [LUTE] vertical dyslexia?
Dear All
Recently, I have noticed that I seem to be beginning
Bill
I'm sorry about that. My part-time dyslexia does not seem a joke to
me. I began to wonder what was happening to me, so I can sympathize.
In fact, it may be a mild form, I have, that is only revealed under
duress. On the other, hand as someone else suggested, it could be one
of
Bill
I envy your memorizing abilities. I have just been thinking what
your situation implies. You obviously must have found a way of
learning all pieces by heart.
I find that extremely difficult, but began trying to do so after
reading an article by Matthew Wadsworth on that
Dyslexia
The use of well adapted glasses could indeed be a way of avoiding
precocious eye-related tiredness, which according to Laura Maschi
could contribute to vertical dyslexia.
I will be rushing out later to the optician. I have been using some
American pharmacy glasses that had about the
, Empress of the Known Lute World
a écrit :
Anthony Hind wrote:
[big snips]
perhaps your breathing, if you sing at the same time. Catherine Usher
also points out that this position may be less easy for women.
Actually, Catherine was a rather different empress. . . .
--
Caroline Caroline I
Was it just for the music, or was it also to support the lute?
Anthony
Le 20 mai 07 =E0 07:21, Ed Durbrow a ecrit :
On May 15, 2007, at 11:31 PM, Anthony Hind wrote:
The prospect of every lutist carrying his own table around is a
little daunting,
Jakob Lindberg does. He designed an amazing
It could be a typical case of phonetic variation. I think when French
speakers imitate people from Alsace speaking French they tend to
pronounce initial /b/ as /p/ (I am thinking here that Alsatian French
might be influenced by German, which some may want to refute). It
would then seem
Dear, David, and all,
The thing is, as you say, to use only two mikes and to avoid
any over-amplification and echo. Jacob Heringman says that he always
uses B and K 4006s, one pair, placed roughly where the ears of a
person standing six feet away from where I'm sitting would be.
Eric
If you have access to the lute society music editions, you will
find that in the publication 58 Easy Pieces for Renaissance Lute, on
page 26 of this, there is an edited (corrected) version of Green
sleeves, from the Ballard book. There are two slight alterations.
This might be a
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