On Wed, Apr 2, 2008 at 5:12 AM, Ed Durbrow [EMAIL PROTECTED] wrote:
Both 44.1 and 48K are more than twice the frequency of the upper
limits of human hearing of people with excellent hearing. This is
more than enough for average hearers and overkill if you are making
an MP3. The sampling rate
This is an important point: if the aim is HIP, then this is it. Many
three-part works written during the early chanson period were given
new life by the addition of a fourth part. Some of these extra parts
are quite ingenious, providing a complete change in chord structure
(not that the composers
Folk,
I have a lute-like-object. It was an EMS lute kit, put together (badly) by a
friend of whom I am very fond. He offered it to me when I showed interest
(the closest other thing I had to a lute at the time was a guitar.) I took
off the top plate and shaved the bowl back to correct for the
On Sun, Jul 6, 2008 at 9:13 PM, David Tayler [EMAIL PROTECTED] wrote:
This is a very difficult situation that you describe.
I think the question to ask yourself, is where exactly you a are
going in your studies.
Well, actually, where I'm going in my studies is an EE degree.
Because
Oi.
Folks, please forgive me, and let this subject drop, now? I had no intention
of stubbing toes, firing up rwars, or causing people to point fingers.
It is now obvious to me that I did not make the case for what I want to do
clearly enough. It is also clear that, this request has no chance of
On Tue, Jul 8, 2008 at 8:12 AM, Ed Durbrow [EMAIL PROTECTED] wrote:
If you can use the Baroque lute why not just string it up with single
strings? At least there will be enough pegs and the RH spacing would be in
the ball park.
This is a reasonable option, exactly equivalent, however, to
Folks,
If you get an email saying that you have a UPS delivery, and it doesn't
have a tracking number, it's not from UPS. If it does, then you can
check the tracking number on the UPS site and it should have
information you recognize if you initiated the shipping, but at least
an
Collected lute wisdom,
The collegium is playing a pair of fantasies on Une Jeune Fillette by
Eustache de Caurroy this semester, and I'm supposed to figure out what
to pluck with them. They are number 31 and 32 (trenteuniesme and
trentedeuxiesme).
Has anyone seen these? What is the song they are
I suppose it's worth revisiting this subject since I just acquired a
T-122 myself and have had a chance to play with it a bit.
I've set up lutes using Dowland's Rule of 18, and for Dowland it works
very well, indeed. But when I have to play with other instruments, it
is good to be able to set the
Actually, Dowland's tuning is quite sensible. The rule of 18 sets a
lute (in theory, neglecting string stretch caused by sideways
displacement at the finger and fret) to very-nearly equal temperament.
Apparently, the stretch added by actually fingering the strings brings
it very very close.
This
Oct 2008, at 13:45, William Brohinsky wrote:
Actually, Dowland's tuning is quite sensible. The rule of 18 sets a
lute (in theory, neglecting string stretch caused by sideways
displacement at the finger and fret) to very-nearly equal temperament.
Apparently, the stretch added by actually fingering
I posted this right after the question was asked, and now see it only
went to Dennis, so here it is again, apologies for the repeat, Dennis,
and the delay, everyone else.
I've seen equally compelling arguments for Doeland, Dowland and
Dooland. Considering his heritage and whom he worked for, and
Colliginous trenchancy,
Tonight I was given a pretty hard-to-read copy of this bataille air de
cour based on Une Jeune Filette. I'm to play the lute part (it fits
fine on a renlute in G)
I wonder if anyone has a fair copy, or perhaps a well-set PDF of this
piece? If not, now that I've learned
they
distribute music on the web and what feedback they get from their
constituents.
my 2.1 cents
Sean
On Dec 8, 2008, at 8:24 AM, William Brohinsky wrote:
I think, maybe, we can skip the prejudicial ad-hominem remarks.
I try to play from all kinds of tablature, and frankly, I find
Colligenous Trenchan...never mind.
Lute folk,
A few years back, I used to run a very loose Sing It Yourself Messiah
in these parts. Basically, instead of the carefully rehearsed
orchestra and soloists with 'pick up' chorus, we just gathered a very
small core band (in those days, just a string
Guy,
If you have any guitar experience, you already know the chords. From
the second string (E) down to the A string, you have the top five
strings of the guitar (albeit reentrantly tuned because the top E is
an octave lower.) The next four strings represent the diatonic scale
from the guitar's
There's no question that this shows something, but I'm not sure the
conclusion is valid.
First, if he had been playing Over the Rainbow on a tenor sax, I'm
pretty sure he'd have had more attention and more 'donations'. Busking
is more the art of making things appeal to passersby than demanding
It is the ultimate irony that someone, somewhere, will pay real money
in order to read this 3-page collection of drivel. They may even copy
the entire thing and give it in as their own writing (which is, after
all, the purpose of these kinds of sites.) They will simultaneously be
gigged for
I'm suspecting that the real question Peter raised is being skirted by
the respondents' reaction to the supposition of a charge
of dilettantism. Now that I've caught up a little, I see that he isn't
necessarily saying that lutenists tending to dilettantism is bad, just
that other musicians' (and
On Sat, Feb 7, 2009 at 4:04 PM, Peter Martin peter.l...@gmail.com wrote:
My real question was about the highest professional standards, and
specifically whether lutenists can ever hope to match the standards of
top pianists or violinists, for example, while they persist in
spreading
Caveats for Finale Notepad:
This is a very very pared-down version of finale. That means that you
get all the problems without the facilities to fix them (spider-thin
staff lines and barlines, which are more than an annoyance to folk
with less-than-perfect vision, including us older folk) and the
On Sat, Feb 14, 2009 at 5:08 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Clearly all this is subject to considerations of local pitch standards
and national preferences...
Oddly, no one seems to have settled on the most obvious solution:
Caroline merely needs
*sigh*. Correction: At A=494, a G lute (at previous A=440) is now in F.
On Sat, Feb 14, 2009 at 6:48 PM, William Brohinsky tiorbin...@gmail.com wrote:
On Sat, Feb 14, 2009 at 5:08 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Clearly all this is subject to considerations of local
On Tue, Feb 17, 2009 at 3:37 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
However, for mysterious reasons, some modern players string small
theorboes with low octaves on the second course even when wholly
unnecessary at the pitch in which they play.
If we have any pretensions to
On Thu, Mar 12, 2009 at 6:20 PM, angevin...@att.net wrote:
No, I mean plain old modern staff notation. Not the esoteric, specialized
stuff of early Western music. Mensural, as is Add mensural staff of
Fronimo. Sorry if the use of the not-quite-exact term was confusing. I'm
just meaning
On Thu, Mar 19, 2009 at 4:00 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Perhaps you are, in practice, actually pulling it sideways which is the
usual way of raising the pitch as, indeed, someone else has already
mentioned. Sideways movement is effectively independent of fret
On Thu, Mar 19, 2009 at 9:14 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
We seem to be at cross purposes: what I call 'pulling it (the string)
sideways' is what you, I think, call 'bending'.
MH
It is certain that what you are calling pulling is what I am calling
bending. This was the
On Fri, Mar 20, 2009 at 3:49 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Indeed.
To return to the principal matter (wether low frets and low string
depression to fingerboard are advantageous): depressing the string from
just touching the fret top to 'bottoming out' on the
I'm sorry, but I have to say it.
Earlier in the renaissance revival, George Kelischek engineered
inexpensive krummhorns using ABS plastic and plastic reeds. They were
far cheaper than wooden krummhorns, and were intended to be quite
popular with schools and amateur groups.
In actual fact, they
And many years ago - before the main early music revival and
Ovation-Maccaferro (Sp?) made a serious plastic guitar.
Maccafero, of course, was the luthier made famous by Django Rheinhardt.
Very correct, Daniel, although it would have been more germane to the
point if you had also mentioned
There is little difference between renaissance viol and baroque viol
as they are now made. If the ren viol has a sound post (and bass bar,
but that's harder to see) then it's not historical. On the other hand,
I know of very few viol players who will attempt public performance
without them.
That
The external mic jack referenced is of no use for using the H2 as a
standard mic. It is to allow using an external microphone as the input
to the H2 recorder circuits.
Bruno,
I wrote privately with my doubts about the H2 being usable as a
standard mic, which hasn't changed significantly. However,
It has long been my opinion that temperament is only necessary and
workable on fixed-pitch instruments of limited resources.
Specifically, it is a great work-around for a specific problem. For
the rest of us, it is not a temperament that will be important to us
(except where a specific composer
On Sat, Sep 26, 2009 at 1:50 PM, Roman Turovsky r.turov...@gmail.com wrote:
Exactly.
RT
Exactly what? I'm afraid I'm not getting Chris's point, nor seeing it
as a change from what I said.
By the way: when have professional string players ever not tuned in
perfect fifths? In the 60's, we
I have spent an enjoyable week researching the chekker. At least it
was more enjoyable than just sitting around healing.
Anyway, I was able to acquire some of the papers associated with the
Christopher Page article and the Early Music article itself:
The Myth of the Chekker, Christopher Page, EM
sent by accident to just Robert LeClair, but intended for the list:
I have a better/different idea.
I am on short-term disability, having broken and dislocated both
elbows on October 1st. (Always like to start a season off right, I
do!) I have three classes I'm still making up homework from, but
Likewise, if you have a listing, but your asking price has changed, it
would be very good to update that as well: I had some considerable
descretionary funds before the accidents, and would have been
enquiring after theorboes if I hadn't had the feeling that the
listings were too out-of-date.
I believe that the Bbb you are seeing refers to something like the BBb
tuba, and the second b is lower case because of someone's
overagressive capitalization-correction system.
In BBb tuba, the doubled capital B shows the octave that the note is
in, and the last b represents the flat. This is a
This is a problem I've dealt with over the last two decades. For me,
the music part is over, since I discovered (when I started playing
viola) that no glasses makes music reading easiest for me!
But before my eyes progressed to this state, I was (actually about 15
years ago) just about where you
To which I will append:
Paddle lenses are the lenses with the hook attachment...sometimes they
are in plastic holders which look like paddles and the holder (which
perches on your nose and ears like normal glasses) have rectangle
supports to hold them.
In the states, in most places, when the
And here we always thought it was because it's harder to hit a moving
target!
On Fri, Dec 11, 2009 at 9:35 PM, Ed Durbrow
[1]edurb...@sea.plala.or.jp wrote:
On Dec 12, 2009, at 1:46 AM, Guy Smith wrote:
Better a theorbo than a bagpipe...
You know why bagpipes
Would someone please translate for the poor idiots who only understand
a few human languages and a double-handful of computer languages? i.e.,
me.
thanks,
ray
On Sun, Mar 14, 2010 at 7:45 AM, David van Ooijen
[1]davidvanooi...@gmail.com wrote:
On Sun, Mar 14, 2010 at
Ahh... so.
(sorry!)
Thanks.
ray
On Sun, Mar 14, 2010 at 5:08 PM, David van Ooijen
[1]davidvanooi...@gmail.com wrote:
On Sun, Mar 14, 2010 at 9:55 PM, Gernot Hilger
[2]gernot.hil...@netcologne.de wrote:
honto da
= indeed!
David
Sesquialtera is a member of the family of proportions identified by
Boethius as Genus Superparticularis.
Boethius list includes:
Genus multiplex, all proportions which can be expressed as ratios
(fractions) with 1 in the denominator: dupla (2/1), tripla (3/1) etc.
Genus superparticularis, all
lute@cs.dartmouth.edu
On Fri, Aug 5, 2011 at 6:16 AM, Garry Warber garrywar...@hughes.net wrote:
Anyone know of an electronic tuner that calibrates to a=392?
I have a turbotuner (http://www.turbo-tuner.com/pages/features.htm).
A4 can be set anywhere between 220hz and 880hz. You can put your
There are many approaches.
One is to drill a hole radially through the dowel with a drill bit
sized to the width of the slot, then use a saw to cut from the end of
the dowel to the tangent points of the drilled hole. Clamping the
dowel vertical and drilling into the bottom of the slot (with an
Yet another good reason why conscientious teachers forbid their
students from using Wikipedia as a source. There is more, of course:
if your subject becomes 'sensitive' to the PC feelings of the
administrators or some nebulous and unidentified/unidentifiable
portion of the 'community', it is
Fellow luters,
may I offer some help in terminology?
First of all, micing does not exist in the language (on either side of
the Atlantic) in a context of microphones. I might have use in terms
of barn cats.
The actual term is, as was originally used, miking. However, there is
a price for using
some other tuning ideas.
William Brohinsky
On Sun, Jun 24, 2012 at 12:11 PM, Edward Mast nedma...@aol.com wrote:
A question perhaps better posed on a bowed string forum, but I'm confident
someone here can help me. When tuning my cello with a Korg chromatic
electronic tuner, what pitches
Wow. awful lot of theory vs. practice here, and apparently the
practice isn't all that clean.
The topic was admitted from the first to be 'off topic': bowed
strings, not plucked (i.e., cello.)
Stretched partials do indeed happen, most famous in pianos. There, the
very short length and high
Sorry, Philip. I was going to get here, and was interrupted by a colleague.
The idea of playing harmonics on bowed string instruments includes
using a very light touch (hence, not squashing finger meat all over
the string) and finding the point as you bow that the harmonic
sounds best. That is
Luters,
I am in need of the original version of 'flow my tears' (whatever the
spelling) from Dowland's second book of ayres. I am specifically
looking for white mensural notation and lute tablature, as well as the
original lyrics in their originally printed spellings.
I know that this is in the
My thanks! The need has been filled! My thanks!
William
On Sun, Jul 29, 2012 at 9:19 AM, William Brohinsky tiorbin...@gmail.com wrote:
Luters,
I am in need of the original version of 'flow my tears' (whatever the
spelling) from Dowland's second book of ayres. I am specifically
looking
Your luthier can get them, or you may be able to buy them directly
from pegheds.com, as noted already.
However, installation of pegheds and other mechanical-advantage pegs
is not for beginners or the faint of heart. They must be glued into
the hole on one side of the pegbox, while the other side
Fellow lute folk,
I am (don't ask why) taking a music appreciation class this semester.
We are required to write a one-page journal entry periodically,
related to one of our listening assignments. Fear not, this is not a
do my homework request. The page is done.
The song I chose is by Thomas
According to OED, this usage dates from 1550 or before.
And yes, this is a pun, since there is no jesting with either variety
of edged tool. At least not sufficient reliability in 16th century
technology.
I have, in research since I first posted, found one direct reference
to the Watkins Ale
I am no expert on plastic strings, nor am I a degreed chemical
engineer. I have had a six-month romp through carbon chemistry at work,
and can suggest a few things.
First, Nylon and 'Carbon' strings are both carbon, since carbon is the
major constituent. Nylon used for strings,
Tom Stone's patent is on [1]google.com/patents, number 4132143.
According to an article by David Canright, who made his own JI guitar
and wondered about interchangeable fretboards was practical, Tom Stone
sold the patent to Mark Rankin. Canright said
My personal preference is to see the edition in the same form as the
original manuscript, staff notation for staff notation, numerical tab
for numerical, 'upside up' for upside up, etc (with the understanding
that other than direction, I'm not inferring that numeric should or
must
Don't get me wrong, I'm as much in favor of people paying fair wage for
labor of hand and mind.
But I honestly think people are missing something here: Graham Freeman
stated I'm away from my books
At the very least, it might be a good thing to ask if he already owns
copies of
I have to admit to not understanding the idea that the purpose of the
list or of lutenists should be to try to force people's direction one
way or the other. If someone is interested in guitar, or even
interested in hearing guitar music on lute, great...but is there
something wrong
Ernesto said:
Generally speaking, we want to get more guitarists into the lute, not
the other way around, isn't it?
yes, someone expressed that idea.
On Fri, Dec 6, 2013 at 4:09 PM, howard posner
[1]howardpos...@ca.rr.com wrote:
On Dec 6, 2013, at 12:52 PM, William Brohinsky
A valid question, Martin, and one which I'm sure we all have faced at
some point. And yet we still are interested in playing lute, and in my
case, viola da gamba as well.
Here are the thoughts I have had on the subject:
-I own an electric guitar, and a small subset of the amazingly
- YOU WIN!
On 12/9/2013 6:18 AM, Geoff Gaherty wrote:
On 09/12/13 8:34 AM, William Brohinsky wrote:
I own an electric guitar, and a small subset of the amazingly wide
and
varied tone-modifiers and other paraphernalia of electric-guitar
use.
And yet, I also
Chris Wilke wrote, in a response to an increasingly unfocused string of
comments on Segovia's influence on Lutes:
| Actually, Paul told me that his idol as a young player was Eric
Clapton and he was thrilled to have finally met him at the Grammys
| a few years ago. Maybe Paul was
Every time I'm in this position (and it happens remarkably often, even
when playing amplified electric bass!) I am minded of Peter Schikele's
introductory speech for PDQ Bach's Sinfonia Concertante S. 98.6 for
Lute, Balalaika, Ocarina, Bagpipes, Left-Handed Sewer Flute,
Double-Reed
According to http://copyright.cornell.edu/resources/publicdomain.cfm
As of January 1, 2014:
All works published prior to 1923 are in the Public Domain. There
are special cases, none of which relate to music published before
1900.
Works published outside the US by foreign nationals without
What a world, where government officials will destroy a musical
instrument of beauty and quality sound because they think, somehow,
this will stop people from cutting down the same variety of tree in
another country...
Has anyone noticed how much good the confiscation and
Interesting decision tree (if you'll excuse...)
So if your lute has no CITES woods in it, and you don't have
documentation to that effect, you still lose your instrument?
I know that EU has been voracious in preventing non-EU providers from
selling organs or organ pipes into EU by outlawing and
[1]http://lute.musickshandmade.com/pages/home is a good place to start.
You don't even need to buy Django, since much of the content is in pdf
form.A
You can also peruse the mailing list archive for links to National
libraries which are providing images of original MS and print.
I guess I'm your boy.
I taught myself guitar,A starting at age 9 (having started 'cello the
previous year)A and played mostly folk styles (including Travis
picking). Never once was I able to play with a finger grounded on the
guitar top plate.
At about 21, I taught myself
The MT-1200 manual can be found
atA [1]http://seanmehan.globat.com/blog/wp-content/uploads/2010/04/mt12
00.pdf.zip
It has a supplement which gives cents deviation for each pitch in the
chromatic scale for each temperament as provided by Korg.
Some other useful resources:
The model number for the stand David refers to is Yamaha MS-303al. It
can be purchased for around $60(US). It weighs 1.7lbs, cs. the 'usual'
folding stand format (Yamaha's is MS1000 and is also called 'light
weight' and has aluminum tubing) which comes in at about 3.3Lbs. It is
I knew Harold Westover on-and-off for a decade or so. I knew of him
before I met him. Many of my playing associates have, at one time or
other, owned a Westover viol: they were classed as 'student
instruments', and were ideal for that purpose: Well made if not
historical, sturdy
Sidenote: On Windows, the free GIRDAC system does a wonderful job of
turning anything you can print into a PDF file.
[1]http://www.girdac.com/
They have converters you can pay for with more features, but the
straight-on converter acts like a printer, and allows you to edit Meta
I think, Martin, you might find it difficult to find software which can
follow any score at random, choosing the proper parts out page after
page, to combine into a different document. In fact, I think that most
people in the world couldn't successfully do this, because the people
Hello, Howard,
"Tune your lute and raise your voyce" appears as number 10 in the
second volume of John Playford's Theatre of Music.
A PDF scan is available online at IMSLP.Org. The overall page is
[1]http://imslp.org/wiki/The_Theater_of_Music_(Playford,_John)
Ray Brohinsky
On
Drink; Boy, my Goblet fill to th' brink;
for when I lay down my head, better to be Drunk,
better to be Drunk, Dead Drunk; than dead ||
Ray B
On Thu, Mar 23, 2017 at 1:50 PM, William Brohinsky
<[2]tiorbin...@gmail.com> wrote:
Hello, Howard,
"Tune y
..."Singing Odes of With and Mirth;" is, of course,
"Singing Odes of Wit and Mirth;".
My apologies.
Ray B
On Thu, Mar 23, 2017 at 2:08 PM, William Brohinsky
<[1]tiorbin...@gmail.com> wrote:
And the song that ends "Better to be drunk..
I replied to Guy last night, in a hurry, and didn't get the lute list
into the cc:
Helen Hewett's 1942 dissertation on Harmonice Musices Odhecaton A,
which was printed and published as Studies and Documents 5, Medieval
Academy of America No. 42, and included Isabel Pope's
Grr. Deepest apologies.
This is the link:
[1]https://books.google.com/books/download/A_Musicall_Banquet.pdf?id=O3
VPAQAAMAAJ=pdf=ACfU3U3jLad_JgtvhDIrkwAnfUqFMjY4dQ
Ray
On Sat, May 20, 2017 at 7:20 PM William Brohinsky
<[2]tiorbin...@gmail.com> wrote:
I n
I noticed that it is a Hathitrust book, but scanned by Google. Plugging
the title and Robert dowland into google search, I arrived at
[1]https://translate.googleusercontent.com/translate_c?depth=1=tra
nslate.google.com=de=nmt4=en=http://service.de.faber-castell
Some personal observations, If I may:
People in Convalescent and Recuperation facilities come in two
varieties, those who are recovering from debilitating injuries which
limit movement or self-support enough to require that kind of care, but
not hospitalization, or those who are
Hi all,
While Ron is quite right about the Early Music scene not being terribly
informal, there are more than a few reasons, the greatest of which is
noise level.
When my wife, sister-in-law, and I were playing with the UCONN
Collegium (Deb and I as townies, Dianne as a student)
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