Dear Edward,
I ordered some La Bella strings a few years back and their calculations were
way off. I was able to do my own for the nylon strings by measuring the
diameter but it was really hit and miss for the copper-wound strings as I
didn't have any basis for calculation. The strings they sug
Hi Rob,
There is an instrumental version in Albrecht Werl's Lutebook (2r Aria [Privé de
deux beaux yeux] / 4 P. Ballard: RISM B/I 16288, f. 27v; cf. n° 168 et 207.
In the same book there is a pièce inspired by a song by Guédron called 'En fin
ces beaux yeux' (80v) but I haven't made a comparison
In Julie Anne Sadie's Companion to Baroque Music it is given as c.1580.
Best
Matthew
> On May 21, 2014, at 15:38, Monica Hall wrote:
>
> Is Kapsberger's date of birth known more precisely than 1580 given in
> Groves on line?
>
>
>
> Monica
>
> --
>
>
> To get on or off this list
In my opinion, if only the neck was changed, then the conversion is not
complete. Generally baroque barring would be quite different, to what degree
depending to an extent on what the lute was converted from (early 6-course or
late 10-course?).
Best
Matthew
On 27 juin 2014, at 11:00, Dieter
The 4th piece (starting at 6'48 in the programme) is the Passamezzo from the F
minor sonata, which is on page 54 of the facsimile.
Best
Matthew
On 11 juil. 2014, at 12:20, Ed Durbrow wrote:
> What is the 4th piece he plays? It sounds like a passamezzo in Fm. I cannot
> find it in the 1620 p
y guitar teacher gave me in the 70s,
> ends at page 53.
> Dang. How much more is there?
>
> On Jul 11, 2014, at 7:41 PM, Matthew Daillie wrote:
>
>> The 4th piece (starting at 6'48 in the programme) is the Passamezzo from the
>> F minor sonata, which is
I have never strung a liuto attiorbato but the principles should be exactly the
same as for any other lute with an extended neck such a swan-neck 13-course. I
find that the longer the string length, the more tension you have to put on to
get the same feel under the fingers. Similarly, for a smal
This is inevitable and is part of the life of the lute. The more worn it is,
the more it shows you've been practicing! After a few years, the soundboards of
the instruments of some professional players can look as though they are going
to develop a hole where the little finger rests, but I've ne
Hi Wayne,
This is a common problem with instruments that are new but it is strange that
your varnish has not hardened after all these years. I you leave it out of the
case for a while, do the marks go away? Some varnishes seem to be
'self-healing' like that.
It's difficult to give a general re
I did mean a plastic rubber (UK) or eraser (US) not a cloth to rub a finish on.
Matthew
> On Jul 28, 2014, at 17:16, Martyn Hodgson wrote:
>
> A 'rubber' in this context isn't an eraser - the other meaning for the
> term outside the USA - much less a condom! It's a piece of cloth loaded
>
Dear Simon,
One has to be wary about the nomenclature for nylgut strings as Aquila change
their formula without informing customers. The old white nylgut was replaced by
the 'new' rather sickly yellow material a few years back. The 0.40 diameter
strings were very problematic and would indeed sn
It's not a tab staff. Robert Spencer comments:
'Forty-six permutations of the scale of C major in bass clef, suggesting
changes for bell ringers, or sight-singing exercises. If and how these relate
to the lute is not clear.'
Best
Matthew
> On Sep 12, 2014, at 22:46, Leonard Williams wrote:
>
0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I twice tried sending a reply to Anton with a scan of the piece he was looking
for but for some reason (attachment fearing, over zealous anti-virus set-up?)
the body of my message got replaced with a '0'.
Best
Matthew
On 21 sept. 2014, at 11:45, Matthew Daillie wrote:
> 0
>
You might like to read the introduction to Neapolitan lute music edited by
John Griffiths, Dinko Fabris (notably page X):
http://books.google.fr/books?id=q8qr4CLOxysC&pg=PR10&lpg=PR10&dq=neapolitan+tablature&source=bl&ots=jXb09E-LE3&sig=I-mxbo6DHtpCkFABYvORt1giXcw&hl=en&sa=X&ei=4oI9VIHQKILMONvrg
Hi Roman,
Well, we've had this discussion before but I really can't agree on your minimum
width for a 13-course lute. In paragraph 3 you say ' Make sure the bridge is
not too narrow, ideally in the vicinity of 155mm between the 1st and the 13th
course. If it measures only 145mm - stay away. You
Hear, hear!
> On Oct 15, 2014, at 22:50, howard posner wrote:
>
> OK, but if you’re catching flak about your remarks on bridge spacing, and you
> know you won’t change those remarks even to say that not everyone agrees with
> you about it, why are you asking for ideas?
>
>> On Oct 15, 2014,
Too large a folder to send by mail but I can upload to DropBox if nobody else
has sent it to you in the meantime.
Best
Matthew
On 17 oct. 2014, at 01:08, al...@signtracks.com wrote:
> Darn, I am seeing this bit of information a little too late... Did someone
> download this precious materia
I have had several requests for a DropBox link, I would just like Arthur's
approval before sending it to people.
Best
Matthew
On 17 oct. 2014, at 09:20, Matthew Daillie wrote:
> Too large a folder to send by mail but I can upload to DropBox if nobody else
> has sent it to
Hi,
I have now sent a DropBox link to people who wanted to download the files. I
hope I haven't forgotten anyone, just send me an email if I have.
Best
Matthew
On 17 oct. 2014, at 01:08, al...@signtracks.com wrote:
> Darn, I am seeing this bit of information a little too late... Did someone
Dear Martin,
I don't know if this of any use to you but Savarez do supply software to
calculate their strings tensions (a program called 'Selector'). If you ring
them or drop a line, they will send a copy free of charge (or at least they
used to!).
Best
Matthew
On 20 oct. 2014, at 14:41, Ma
Dear Luca,
I suspect that it is a Burkholzer copy by Lars Jönsson, about the same body
size as the Fenton House Undervorben with a SL of around 71cm. The record
company has put the CD booklet online here:
http://www.bgsrecords.com/products/images/pages/BGS120.pdf
Best
Matthew
> On Nov 23, 2014
For his doctoral thesis François Dry did a translation into French of all the
texts from all of the vihuela books but I don't know if that is of any help.
Best
Matthew
> On Dec 7, 2014, at 10:17, Bernd Haegemann wrote:
>
> Ole Sterling,
> I can't remember having seen a translation. I put
The posts on this forum might answer your question Rainer:
https://english.stackexchange.com/questions/3903/19th-century-english-texts-occasionally-use-germanic-style-number-words-such-as
Best,
Matthew
On 28/01/2018 11:11, Rainer wrote:
Dear lute-netters,
some of you certainly know (have) Pet
You could see if there is anything in this book devoted to the
decoration of historical instruments (translated from German):
Musical Instruments and Their decoration. Historical Gems of European
Culture by Christoph Rueger
Alexander Batov has dedicated a webpage to late 16th century
Does this post fall into your first category Ron?
In the past, I have observed (as I do) that the lion's share of posts
cropping up on the lute list fall into one of three categories: 1)
Selfies (look at my new video, instrument, cat...),
On 29/01/2018 17:36, Ron Andrico wrote:
Speaking
In his latest Memo video, Lukas Henning plays another Marco recercar
'senza canto' and adds a few inventions of his own for a lute with
several broken strings!
[1]https://www.youtube.com/watch?time_continue=6&v=g-Lzgk8N-yM
Best,
Matthew
On 30/01/2018 19:56, Dan Winheld wrote:
The last I heard all the hard work had been done but they were waiting
to break even on the Matthew Holmes manuscript before publishing. This
was already some time ago.
Best,
Matthew
On 31/01/2018 11:54, Rainer wrote:
I seem to remember that the English LS had announced a facsimile edition.
Perhaps try the webmaster:
Wouter Lucassen [1]webmas...@nederlandseluitvereniging.nl
Best,
Matthew
On 02/02/2018 13:06, Rainer wrote:
Dear lute-netters,
I am trying to contact the Dutch LS. I have sent an email to
[2]voorzit...@nederlandseluitvereniging.nl (twice)
There's also a FB page:
[1]https://www.facebook.com/Luitvereniging/
On 02/02/2018 13:06, Rainer wrote:
Dear lute-netters,
I am trying to contact the Dutch LS. I have sent an email to
[2]voorzit...@nederlandseluitvereniging.nl (twice)
[3]secreta...@nederlandselu
On 02/02/2018 14:24, Rainer wrote:
I would rather die than become a member of facebook...
Rainer
Yes, I commiserate.
Best,
Matthew
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Howard Mayer Brown's 'Embellishing 16th Century Music' and the entry in
Grove under 'Ornaments' make for interesting reading. Both touch upon
Capirola's indications and set them in the wider context of 16th century
instruction books for singers and instrumentalists.
Best,
Matthew
On 04/02/20
Does anyone have any of the small diameter shiny nylgut strings that
Aquila produced in 2014 that they would be willing to sell? I am
particularly interested in 0.38 and 0.44 gauge strings to put on my lute
in a'.
Please contact me off-list. Many thanks.
Best,
Matthew
To get on or off th
You didn't mention the string length of your lute so we can't judge whether
0.44 is the right diameter or not (it would certainly be far too much for a 60
cm lute and would explain the snapping strings).
Unfortunately breakage is a common problem with the current Nylgut top strings,
particularl
I was presuming a pitch of 440 but Wim mentions neither pitch nor string length.
> On Feb 19, 2018, at 11:22, Martyn Hodgson
> wrote:
>
> A nylgut string of 0.44 on a lute of 60cmm string length at A415
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lut
I tend to think that parallels can be drawn between the use of period
pronunciation and temperaments. It would be unthinkable for most early
keyboard players today to perform the repertoire of Cabezon, de Macque,
the English virginalists, Louis Couperin or Bach in equal temperament;
they would
On 19/02/2018 17:53, Dan Winheld wrote:
While stronger than equivalent gut, nylgut (especially the 1st
generation, dead white stuff) is much more delicate than equivalent
tension nylon or KF. The later, more yellow New Nylgut is stronger but
still nowhere near as tough as the other synthetics.
Additional reading:
'Print Culture and Music in Sixteenth-Century Venice' by Jane Bernstein,
published by Oxford University Press.
Best,
Matthew
On 21/02/2018 13:01, Ron Andrico wrote:
Daniel Heartz wrote a monograph on the role of Attaingnant as music
publisher, _Pierre Attaingnant Roy
On 21/02/2018 01:23, Nancy Carlin wrote:
I was wondering if anyone on the list has a pdf, or knows a link
for:
Johann Daniel Mylius Thesaurus Gratiarum (Frankfurt, 1622).
Lvov lute manuscript = RU-Lv Ms 1400/1 - Hans Kernstock c1655.
I found nice indexes of both of the
Can you send a scan or a link?
Best,
Matthew
> On Feb 25, 2018, at 10:29, Rainer wrote:
>
> Dear lute netters,
>
> In "Apoloos soete Lier" Vallet uses a symbol I have not seen before:
>
> It looks (sort of) an upside down fermata and us placed between two notes.
>
> I assume it is a tie. Do
Paul O'Dette quotes the source in his article in the proceedings of the
International Lute Symposium in Utrecht in 1986. It is a letter dated 14
March 1524 discovered by Jessie Ann Owens which refers to Francesco
using 'two silver thimbles inside of which were two small quills'. The
letter was
Hi Martin,
Several vihuelists seemed to say something along those lines but I
suspect that the quote you might be looking for is by Fuenllana:
'My opinion is that whoever truly wishes to learn music should always
train himself in studying and transcribing composed works, since the
true profi
It is in the Glasgow University Library (Euing 25):
http://special.lib.gla.ac.uk/exhibns/treasures/lute.html
Sarge Gerbode provides images of the manuscript here;
http://www.gerbode.net/facsimiles/GB-ge_glasgow_university_library/
and his own modern edition here:
http://www.gerbode.net/sources
On 06/03/2018 23:02, Peter Martin wrote:
Easyjet's musical instrument policy includes:
Musical instruments are permitted for carriage as Hand Baggage
provided that the instrument, including its case, does not exceed 30cm
x 120cm x 38cm.
[1]https://www.easyjet.com/en/terms-and-con
Hi Leonard,
This seems to be a very convoluted and hit and miss method to me. Maybe
it would be good to get back to basics (which is what you are doing when
checking the major thirds between the fifth and third courses of your lute).
With 1/4 comma meantone you are looking to have 8 pure, bea
I fear that there is a misunderstanding here. The 'perfect' fifths you
are checking (intervals of three tones and a semi-tone) are not 'pure'
fifths. One cannot have pure major thirds and pure (beat-less) fifths in
the same temperament. The fifths (and fourths) in 1/4 mean tone are
tempered.
You are confusing two totally different things Ron and your comment is
completely misleading.
Of course major thirds can be pure. When the corresponding harmonics of
the two notes constituting a major third are aligned, then the interval
is pure. This is a physical, acoustical phenomenon.
Di
I totally agree with Martin Shepherd (indeed two of our messages said
the same thing) but what is the valid point Ron was making ??
Leonard's original post was a question about his method for tuning 1/4
comma meantone, not whether it was appropriate or not to use it on
lutes, a can of worms I
If your frets are becoming loose after a short period then it's probably
because you didn't pull them tight enough in the first place (I am presuming
you use gut frets). Make sure that you are giving them enough leeway to tighten
properly when you pull them towards the bridge. They need almost a
I've never had issues with single knots.
Best,
Matthew
On 09/03/2018 11:39, Martyn Hodgson wrote:
Indeed. And it also depends whether single fret loops are employed
(something of a modern fad) rather than the better, and easier to tie
firmly, historical double fret loops
To get o
On 09/03/2018 14:06, Tristan von Neumann wrote:
A substitute would be highly welcome. I have thought about soaking
parcel string in hide glue for frets.
Has anyone tried something that?
Aquila have started producing nylgut frets. I haven't tried them as I am
quite happy with gut.
Best,
Mat
Maybe because, firstly much of the music composed for lute today is
incredibly trite and uninteresting when set against the works of the
great composers of the renaissance and the baroque period (personally I
feel there is so much historic repertory yet to discover that I am not
at a
On 15/03/2018 01:45, Ron Andrico wrote:
I don't usually bother to respond to your sniping noises,
There is no stature to be gained by treating the work of others with
disdain while claiming a morally superior position
Goodness Ron , those are comments that could definitely have grant
On 15/03/2018 00:16, howard posner wrote:
Maybe because, firstly much of the music composed for lute today is
incredibly trite and uninteresting when set against the works of the
great composers of the renaissance and the baroque period
Wow! You must have heard some of my stuff.
OK,
On 15/03/2018 18:38, Ron Andrico wrote:
I'd like to draw particular attention to your pointing out that
narcissism motivates the many reactions that deride new music by those
who appear to enjoy "shooting from the lip" on just about any
lute-related topic. Spot on. Without passing jud
On 16/03/2018 04:39, Edward Martin wrote:
Thanks Daniel.
Yes, I have that old LP and also the old recording of LeRoy and Paladin he did
on that Goffriller copy. Someone recently told me that Nico van der Waals is
alive, living with a German Lutenist. Since Nico has never used computers, I
sh
I tend to read my emails in reverse chronological order in the morning. This
can lead to a very confusing start to the day.
Best,
Matthew
> On Mar 20, 2018, at 6:46, howard posner wrote:
>
> If only someone had told John Lenti about this, we could have avoided a lot
> of unnecessary cruelty
On 25/03/2018 14:38, Roland Hayes wrote:
Does anyone have a Gallot works cnrs edition for sale? r
You could contact Kenneth Sparr in Sweden to ask if he has any copies
left.
Best,
Matthew
kennethsparratgmail.com
[1]http://www.tabulatura.com/TABCATNE.htm
--
References
On 25/03/2018 14:38, Roland Hayes wrote:
Does anyone have a Gallot works cnrs edition for sale? r
__
Incredible coincidence, an ad for a copy here in France has just been
posted, I'll send you a link.
Best,
Matthew
To
On 25/03/2018 23:49, Tristan von Neumann wrote:
No coincidence, if this person is on the list.
Or is it a printed ad?
Nothing to do with the list, a number of CNRS lute books have just been
advertised on a French website dealing with all sorts of second-hand
articles (the French equivalent
Howard Mayer Brown lists (page 491) the works of Palestrina to be found in
music prints between 1568 and 1599. These include Vincentio Galilei, Barbetta,
Dalla Casa, Adriansen and Terzi. I don't think any of the pieces are
intabulations of sacred polyphony though, which is what you were looking
Here is what Pascale Boquet and François-Pierre Goy had to say in the
introduction to the Fuzeau edition of the facsimile:
On Oct 16th 1611, Pierre Ballard obtained a ten-year 'privilège' to
print his brother's works. In the absence of a title page, date of
impression or inscription on the 'sy
I can't imagine using the thumb on the 6th course for that passage, it would
mean all the other fingers being pretty inoperative and it is very
straightforward with the middle finger on c6, the ring finger on c4, the little
finger on d3 and the index finger on c1.
Best,
Matthew
> On Apr 28,
I agree with the idea that equal temperament was probably used by lutenists in
the 16th century but how do you come to the conclusion that keyboard
instruments lack flexibility for tuning compared to lutes? I would have thought
exactly the contrary. There is a tuning pin for every note and some
OK, I understand; you don't like keyboards.
Best,
Matthew
On 12/05/2018 15:21, Ron Andrico wrote:
Think about it. With the lute, we have an instrument that is
simplicity itself. Tuning pegs are within reach and frets are easily
adjustable if one has to play near wind instruments or
That was also the case with Minkoff; there were facsimiles 'en préparation' for
years that never saw the light of day. I contacted the CNRS publishers some
time ago to try to persuade them to reprint some of 'Le Luthiste' books but
they were just not interested.
After recording his collected wor
Yes, Alain Veylit replaced the former with the latter. He moved on to a
new web site and completely rebuilt the software (Fandango), which
requires a new account and a new registration
(http://fandango.musickshandmade.com).
You could try contacting Alain directly to see if he can help you out
Hi Howard,
Even in relatively dry climates gut somehow manages to absorb humidity
and swell over time.
Personally I would try to avoid lubricating the strings. Have you tried
cutting the end at an angle to slip it through? You could probably also
gently sand the last 5 mm or so of the end of
On 29/06/2018 22:21, howard posner wrote:
Matthew, is there a particular reason for not lubricating the string, other
than “it won’t work”? Will it harm the bridge, or make it harder to enlarge
the hole?
I'm just concerned that whatever you use is going to seep into the wood
of the bridge a
From: [3]lute-...@cs.dartmouth.edu
[[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie
Sent: Friday, June 29, 2018 11:50 AM
To: lutelist Net
Subject: [LUTE] Re: Lubricating string ends/bridge holes?
Hi Howard,
Even in relatively dry climates gut somehow manages to absorb
From: [3]lute-...@cs.dartmouth.edu
[[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie
Sent: Friday, June 29, 2018 11:50 AM
To: lutelist Net
Subject: [LUTE] Re: Lubricating string ends/bridge holes?
Hi Howard,
Even in relatively dry climates gut somehow manages to absorb
From: [3]lute-...@cs.dartmouth.edu
[[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie
Sent: Friday, June 29, 2018 11:50 AM
To: lutelist Net
Subject: [LUTE] Re: Lubricating string ends/bridge holes?
Hi Howard,
Even in relatively dry climates gut somehow manages to absorb
From: [3]lute-...@cs.dartmouth.edu
[[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie
Sent: Friday, June 29, 2018 11:50 AM
To: lutelist Net
Subject: [LUTE] Re: Lubricating string ends/bridge holes?
Hi Howard,
Even in relatively dry climates gut somehow manages to absorb
I apologize for the multiple posts earlier on, my internet provider has
been playing tricks on me!
Best,
Matthew
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Rotta uses dots to indicate non use of the thumb, as can be seen with the
broken chords elsewhere in the same pieces.
In the Minkoff reprint the dance pieces you refer to are entitled Gairda and
Padouana respectively. Obviously the key to a convincing performance is to be
very familiar with the
Sorry Sean, the 'SPAM' attribute was automatically generated and added by my
Internet provider who seems to have little regard for the finer details of
performing Renaissance music.
Best,
Matthew
> On Aug 4, 2018, at 11:12, Matthew Daillie wrote:
>
> Rotta uses dots to
Not an awful lot. Minor adjustments to left and right hand spacings (the former
being more straightforward than the latter as it is possible to redo the nut)
and string changes are the most obvious. There can also be issues with pegs
(although there shouldn't be). All the major choices (such as
Oh, and I could have mentioned changes to frets and solving minor buzzes (which
could also involve working on the fingerboard).
> On Sep 13, 2018, at 8:48, Jurgen Frenz
> wrote:
>
> Hi there,
>
> I often read when players comment on their new instrument that they are
> very happy wit
Minor adjustments can also be made to the action by planing the fingerboard to
lower it or putting paper under the nut or a strip of wood on the top of the
bridge to heighten it.
> On Sep 13, 2018, at 8:48, Jurgen Frenz
> wrote:
>
> Hi there,
>
> I often read when players comment on th
Hi Howard,
You might be interested in this video which summarizes some of the research
carried out by David Crystal et al on English pronunciation at the time of
Shakespeare (and Dowland) and the productions of his plays at the Globe theatre
using 'Original Pronunciation':
https://m.youtube.com/
This is untrue. There were other types of keyboard tablature, such as the
Spanish tablature used by Cabezón in which the staff comprised as many lines as
there were voices (the duos only having two lines, for example) and the notes
were indicated with numbers 1 to 7, to which signs were added t
To expand on Ralf's comments and to complement Elam Rotem's video, there is an
interesting section on notation and the various types of keyboard tablature in
Alexander Silbiger's book 'Keyboard Music before 1700', published by Routledge
(pages 2-8).
Best,
Matthew
Le 8 oct. 2018 à 00:44, Ralf
I fear that you might be rather disappointed with the Minkoff edition (R.I.P.)
of the manuscript. One can see from the digital version of the Bibliothèque
Nationale that the red colour used for the right-hand fingerings has faded
badly and Minkoff tried to rectify this but the result is that the
Hi Martin,
There are music stands that that really solves this problem by having a
footprint in the form of an 'L' with its vertical support to the left so that
you are never in danger of kicking it and you can move your feet (and even
cross your legs!) at will. I have one made by RATstands. Its
I would suggest reading Dinko Fabris's article 'The Origin of Italian Lute
Tablature', if you can find it (it was published in in 2001 in Basler Jahrbuch
für Historische Musikpraxis)!
There are two lute pieces in Neapolitan tabulature in the Pesaro manuscript Ms.
1144 but that doesn't answer yo
The Minkoff facsimile provides an English translation. Here is an extract:
'... since my sonatas might offer some difficulty to... players not yet very
experienced in this art... these people must be satisfied with playing simply
the first and second part of the Correnti and Volte, which they may
>From what I've seen it's pretty straightforward, you just need to replace the
>upbeat at the end of the bar with the repeat sign with the anacrusis of the
>first bar. Sometimes the note values of the anacrusis are not the same but
>this doesn't really matter as one is making a pause before star
Stainer & Bell (although the choice of font for the tab is not very nice to
read).
Best
Matthew
> On Mar 2, 2019, at 22:36, Leonard Williams wrote:
>
> Is there a modern edition (in tablature) available of Dowland's
> various books of songs and airs?
>
> Thanks,
> Leonard Williams
>
There are some 'contreparties' to works by French baroque composers Dufaut,
Dupré and Mercure in the Goëss V manuscript (published by Tree Edition) and a
modern edition of five suites for two eleven course lutes from a manuscript in
Warsaw (RM 4135) in the hand of Gusta Goldschmidt published by
There are a number of pieces by Le Moyne in the Saizenay manuscript online here:
http://culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1
Best,
Matthew
Le 26 mars 2019 à 23:34, jjnoo...@sbcglobal.net a écrit :
> Hi, folks—
>
> I’m trying to track down scores (facsimile or edition) of so
I presume you mean Brown 1548/2 Rainer. That facsimile was published by Arnaldo
Forni and includes an introduction by Franco Pavan who discusses these upper
appoggiatura ornaments (which are indeed mentioned in the Regola). Contact me
privately if you want me to send you more details.
Best,
Ma
I meant Brown 1548/3 and 1548/2 (the Forni facsimile is of the former).
Le 27 mars 2019 à 09:12, Rainer a écrit :
> Dear lute netters,
>
> in Brown 1546_3 (whcih is more or less a reprint of Brown 1546_2)
> "Intavolatura di lauto del divino Francesco da Milano,
> et dell''eccellente Pietro Paul
Hi again Jeff,
I forgot, there are also some pieces in the Manuscrit Rés 1106 (Bibliothèque
Nationale de Paris) which must be online somewhere because I have a (rather
poor quality) scan on my HD. Send me a private message if you can't find it and
I shall try to extract the relevant pieces from
Hi Martin,
Did you want a facsimile of the original or would Nigel North's edition
(Tablature for Two Lutes Vol 1 p.3) be enough?
Best wishes,
Matthew
> On Apr 8, 2019, at 9:45, Martin Shepherd wrote:
>
> Dear All,
>
> Can anyone provide me with a copy of the duet treble for Robin from Dd.3.
Sarge Gerbode has put the manuscript online. You can download Robin here:
http://www.gerbode.net/facsimiles/cambridge_university_library/Dd.3.18/11.png
Best,
Matthew
Le 8 avr. 2019 à 09:45, Martin Shepherd a écrit :
> Dear All,
>
> Can anyone provide me with a copy of the duet treble for Ro
Hi Ed,
I don't know if this helps but Peter Steur and Markus Lutz provide the incipit.
Maybe you could contact them to see if they have a copy.
https://mss.slweiss.de/index.php?id=1&type=ms&ms=GB-LbmBotnia&lang=eng&instr=all&st=20
The MANUSCRIPT SOURCES IN TABLATURE site gives the following con
The Lute Society of America Quarterly Volume XLI, 2006 issue No. 3 had an
interview with John Renbourn by Denys Stephens.
Best,
Matthew
Le 26 avr. 2019 à 14:15, Wayne a écrit :
> Hi - Can someone remind me what LSA journal had an article about John Renborn?
>
> Wayne
>
>
>
>
> To get o
I find that interpreting this sign as a backfall or descending appoggiatura
sounds pretty convincing in Robert Johnson's pavans.
Best,
Matthew
Le 15 mai 2019 à 17:26, Alain Veylit a écrit :
> Thank you Martin,
>
> I also found this interesting discussion of lute ornaments on your site:
> ht
I have a Tascam DR-1 and it has given me years of loyal service. It gives a
very clean, natural sound, has good build quality and the original battery
still provides outstanding autonomy. This model has obviously been superseded
but there are several others on offer. Try to see one in the flesh
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