Dear group members,
You are all correct with your observations about Pisador and the fourth
course: it is the only specific reference to tuning both strings of the
course to the same pitch. By the same token, the only reference to the
tuning of both strings of one course is the reference to Fuenllana
tuning the strings a third apart. I haven't got Bill Hearn's article in
front of me, but I think we need to consider as much what isn't said by
the authors. Milan, for example, always refers to each course in the
singular as a "cuerda". He is clearly telling us that he regarded as
the sound of each course to be one sound. I don't think he is telling
us that we should have our vihuelas strung with single-string courses,
but if he used octaves instead of unisons, then their role was
certainly to enhance the qualities of the fundamental, and not to make
it sound like an octave. So if you want to use octaves on your
vihuelas, and want your instrument to sound in a way that Luis Milan
might have approved of, I would recommend you try to match the strings
so that the octave is imperceptible.
It is also narrow to draw conclusions about instrumental practice on
the basis of the local standards of string making. We actually know
very little about string making in Spain. I have read some documents
from the 14th century that ally string makers with tanners, but other
references to string making as a homespun cottage industry in the 16th
century: one violero in Valladolid had strings made for him by a
married couple in Burgos. But I have also found documents in Spain
showing that they imported vihuela strings from Italy, France and the
Low Countries. From this I can only conclude that there was sufficient
interest in Spain in getting good strings for Spanish players and
makers to go to great lengths to identify good strings abroad and
organise their importation. Not too different to today, really.
John
On 9 Sep 2010, at 04:39 , Monica Hall wrote:
I seem never to have replied to this.
There does seem to be some evidence for unison stringing on the 4th
courses of the vihuela in Pisador and Bermudo but that's all.
In an paper in Estudios sobre la vihuela Mimmo Peruffo made an
interesting point - that it is unlikely that the Spanish had discovered
a way of making good gut bass strings which was unknown elsewhere in
Europe. This would be as if they were driving round in motor cars
whilst everyone else was in horse drawn carriages.
I suppose it is possible that the Spanish were prepared to put up with
the poor sound of low gut basses. But surely octave doubling was
acceptable in the 16th and 17th century.
Regards
Monica
----- Original Message ----- From: "Martin Shepherd"
<[1]mar...@luteshop.co.uk>
To: "Vihuelalist" <[2]vihu...@cs.dartmouth.edu>
Sent: Wednesday, September 01, 2010 2:53 PM
Subject: [VIHUELA] Re: Unisons in Italy was Re: Guitar stringing was
Re: Bartolotti Videos performed by Lex Eisenhardt
Thanks, Monica. So as far as the vihuela is concerned, we have
evidence for a unison 4th course but no evidence at all about the
5th and 6th courses?
The surviving music for vihuela dates from a time when the lute was
commonly strung in octaves on courses 4-6, and from a string
technology point of view there is therefore every reason to suppose
that octaves were required. It seems to me that modern wound
strings have made it too easy for us to assume that unisons were the
norm for the vihuela. As I said, the presence of octaves on the
lute seems to have been no barrier for those addicted to polyphonic
intabulations, so the idea that the vihuela repertoire is dominated
by such pieces is no argument in favour of unisons either.
Best wishes,
Martin
Monica Hall wrote:
The original article arguing for octave stringing was by Bill Hearn
in LSA Quarterly, Aug. 1994. There was some correspondence between
him and Donald Gill in LSA Quarterly Feb 1995, and May 1996.
The other piece of evidence for unison stringing is from Bermudo who
mentions that the 4-course guitar has octaves stringing in the 4th
course like the "vihuela de Flandres" and by inference, he suggests
that the vihuela did not.
Monica
----- Original Message ----- From: "Martin Shepherd"
<[3]mar...@luteshop.co.uk>
To: "Lute List" <[4]l...@cs.dartmouth.edu>; "Vihuelalist"
<[5]vihu...@cs.dartmouth.edu>
Sent: Wednesday, September 01, 2010 7:37 AM
Subject: [VIHUELA] Unisons in Italy was Re: Guitar stringing was Re:
Bartolotti Videos performed by Lex Eisenhardt
The main piece of evidence for unison stringing on the lute in late
16th
century Italy is the statement (where? can anyone help? I think
it's an
English source) that Fabrizio Dentice introduced it. And does
Vincenzo
Galilei mention it? For what it's worth, Caravaggio's paintings
seem to
show unisons.
The assumption of unison stringing for the vihuela, on the other
hand,
does seem to be just that (John Ward's 1955 PhD thesis), the only
solid
piece of evidence being Pisador's tuning instructions which imply a
unison
4th course. There is an interesting article in LSAQ some years ago
called
something like "The shaky case for unison stringing on the vihuela"
-
sorry I can't remember the author or the year. Again, can someone
provide
the exact reference?
Best wishes,
Martin
Martyn Hodgson wrote:
Dear Jean-michel,
Put a colon after 'octaves' as '......./*strung in octaves: outside
Italy........*/' - I think you'll see what I meant.... I didn't
think
the meaning wasn't obvious but I'm sorry if you were momentarily
misled.
As you'll see I do, of course, allow the earlier Italian lute in
octave
tuning.
But, interestingly and to extend this thread a little, for the later
16th century Italian repertoire do we really know how the lute was
expected to be strung? I'm not sure that octaves on 4th and 5th as
well
as the 6th (and lower) courses were still general by, say the 1570s.
Do
you? Certainly the 17th century lute doesn't generally seem to have
had
octaves on the 4th and 5th (people like Piccinnini, Melli and
Santino
Garsi), so when did the change take place? [Martin, have you done
anything on this?]
MH
--- On *Tue, 31/8/10, jean-michel Catherinot
/<[6]jeanmichel.catheri...@yahoo.com>/* wrote:
From: jean-michel Catherinot <[7]jeanmichel.catheri...@yahoo.com>
Subject: [VIHUELA] Re: Guitar stringing was Re: Bartolotti Videos
performed by Lex Eisenhardt
To: "Vihuelalist" <[8]vihu...@cs.dartmouth.edu>, "Lute List"
<[9]l...@cs.dartmouth.edu>, "Martin Shepherd"
<[10]mar...@luteshop.co.uk>, "Martyn Hodgson"
<[11]hodgsonmar...@yahoo.co.uk>
Date: Tuesday, 31 August, 2010, 15:03
Except le Roy 's information about neapolitan school (with no
octaves), I'm not aware of an italian general habit of
stringing
without octaves on the lute!
And most of lutenists today play high Renaissance lute music
with
plain octave stringing (6 to 4) as far as I know. On the
vihuela, no
octave stringing began with Emilio Pujol, based only on an
ambiguous
tuning chart in Pisador. So...
--- En date de : Mar 31.8.10, Martyn Hodgson
<[12]hodgsonmar...@yahoo.co.uk
<[13]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yaho
o.co.uk>>
a ecrit :
De: Martyn Hodgson <[14]hodgsonmar...@yahoo.co.uk
<[15]http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yaho
o.co.uk>>
Objet: [VIHUELA] Guitar stringing was Re: Bartolotti Videos
performed by Lex Eisenhardt
A: "Vihuelalist" <[16]vihu...@cs.dartmouth.edu
<[17]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmou
th.edu>>,
"Lute List"
<[18]l...@cs.dartmouth.edu
<[19]http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.
edu>>,
"Martin Shepherd" <[20]mar...@luteshop.co.uk
<[21]http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co
.uk>>
Date: Mardi 31 aout 2010, 12h34
And, of course, in the heyday of the 5 course guitar, the
lute was
always strung in octaves outside Italy the 'baroque' lute
(generally
in Dm tuning); in Italy in the old tuning but still
octaves
on the
basses. But, interestingly and with relevance, we know that
some of
the
French 'Old Ones' removed the lower string from the lowest
octave
pair
as being too intrusive (Burwell, c1670 'That eleventh
string
being
alone ...... The Lute-masters have taken away that great
string
because
the sound of it is too big.....). In short they sacrificied
the
lower
rather than the upper octave of the pair - once again
evidence that
we
need to be very careful about assuming that a 'complete'
and,
to
some
modern thinking, a more logical specification was always
what they
aimed for.
As said before, much of the reason for introducing the
added
basses
was
not simply (or just) to 'improve' the bass register but was
also to
free the left hand for work higher up the fingerboard.
Mace(1676)
certainly makes a great deal of this in his essay on 'The
LUTE made
Easie' as making playing 'become Easie' (no need for such
difficult
left hand fingerings) and, of course, the technique became
very
widely
used later and indeed was common practice by Weiss and
other
18th
century lutenists.
MH
--- On Tue, 31/8/10, Martin Shepherd
<[1]mar...@luteshop.co.uk
<[22]http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co
.uk>>
wrote:
From: Martin Shepherd <[2]mar...@luteshop.co.uk
<[23]http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co
.uk>>
Subject: [VIHUELA] Re: Bartolotti Videos performed by Lex
Eisenhardt
To: "Vihuelalist" <[3]vihu...@cs.dartmouth.edu
<[24]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmou
th.edu>>,
"Lute List"
<[4]l...@cs.dartmouth.edu
<[25]http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.
edu>>
Date: Tuesday, 31 August, 2010, 9:46
Hi All,
Just to give a lutenist's perspective (and copying to the
lute list
as
it might be of interest there):
For much of the 16th century lutes were routinely strung
with
octaves
on courses 4-6. Almost equally routinely, the upper
octaves
are
ignored as far as the counterpoint is concerned - lutenists
making
intabulations (with a few notable exceptions) just
intabulated the
voice parts literally. The degree to which the upper
octave
can be
heard depends on many things, but perhaps most of all the
skill of
the
player - mostly, you want the octave to be audible but not
too
strong
as it is really there to "colour" the sound, adding some
upper
partials
to the sound of the gut basses. The re-entrant tuning of
the guitar
is
another kettle of fish....
Just as an aside, Dowland's remarks on octaves in Varietie
of Lute
Lessons (1610) have been widely misunderstood, even though
what he
writes is perfectly clear. He says that octaves were used
more in
England than elsewhere, so there is some justification (and
quite a
bit
of evidence from the music itself) for using octaves even
up
to the
4th
course in the music of Cutting, John Johnson, Holborne, and
anyone
else
active in the 1580s and 90s (except possibly Ferrabosco,
since he
probably brought his Italian habits with him!). Oh and of
course
Barley's book of 1597 specifies octaves on courses 4-6, and
although
he
borrowed much of his material from Le Roy (1568) he
obviously
thought
it was still common practice.
Best wishes,
Martin
Monica Hall wrote:
> Yes - that is certainly the case. However with baroque
guitar
music
the octaves are intermittent rather than continuous. The
other
point
is that because of the way that the guitar is strung one
tends to
hear
the upper notes rather than the lower ones and because the
instrument
has a small compass the upper notes on the lower courses
overlap
with
the notes on the upper courses. You get the same effect
with
octave
stringing on the third course. It is not that one voice in
the
counterpoint is being duplicated. This is rather different
from
playing passages in octaves on the piano or harpsichord -
where
there
wont be the same overlapping. On the organ it is possible
to play
different parts on different manuals but this raises quite
different
issues from the guitar.
>
> The point I was making about the vihuela is relevant here
too
because
one of the arguments put forward in favour of unison
stringing is
that
the individual contrapuntal lines will be compromised by
the
high
octave strings. In my experience not many lutenists use
octave
stringing even for the earlier repertoire but when they do
the
effect
this has on the music is very noticeable and quite
difficult to
adapt
to. And as far as I am aware, they don't put the high
octave
string
on the thumb side of a course.
>
> Monica
>
>
> ----- Original Message ----- From:
"[1][5]michael.f...@notesinc.com
<[26]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
Inc.com>"
<[2][6]michael.f...@notesinc.com
<[27]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
inc.com>>
> To: "'Lex Eisenhardt'" <[3][7]eisenha...@planet.nl
<[28]http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.
nl>>;
"'Vihuelalist'"
<[4][8]vihu...@cs.dartmouth.edu
<[29]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmou
th.edu>>
> Sent: Monday, August 30, 2010 11:36 PM
> Subject: [VIHUELA] Re: Bartolotti Videos performed by Lex
Eisenhardt
>
>
>> Dear List,
>>
>> At this point I feel compelled to say something about
"parallel
octaves." If
>> parallel octaves are continuous, they cease to be
"parallel
octaves"
and
>> become "orchestration" (e.g., organ or harpsichord
stops). The
parallel
>> octaves that get red marks in a theory or counterpoint
class are
between two
>> adjacent consonances and are usually part of a 3- or
4-voice
texture.
>> Sometimes they are "hidden octaves": the same thing but
with an
intervening
>> note in one of the voices.
>>
>> Sorry for the lecture.
>>
>> Mike
>>
>> ________________________
>>
>> Michael Fink
>> [5][9]michael.f...@notesinc.com
<[30]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
inc.com>
>> ________________________
>>
>>
>> -----Original Message-----
>> From: [6][10]lute-...@cs.dartmouth.edu
<[31]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.edu>
[mailto:[7][11]lute-...@cs.dartmouth.edu
<[32]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.edu>]
On Behalf
>> Of Lex Eisenhardt
>> Sent: Monday, August 30, 2010 1:15 PM
>> To: Vihuelalist
>> Subject: [VIHUELA] Re: Bartolotti Videos performed by
Lex
Eisenhardt
>>
>>
>>> Today the
>>> vihuela is usually tuned in unison throughout but
this
may not
have
>>> been so in the 16^th century. If the 5^th and 6^th
courses
were
octave
>>> strung this might alter our perceptions of the music.
>>
>> But to what extent? Early lutes had octaves, sometimes
even on
the
4th
>> course. Certain organ stops have octaves too.
>> The whole problem seems to be how you reconstruct the
polyphony
in
your
>> mind.
>> The high octaves of the five-course guitar tend to be
prominent
indeed
>> (although it depends also on how you touch them, and the
string
tension, and
>>
>> even on how they relate in height to the bourdon, at the
bridge)
but
I
>> happen to think that it's not a matter of measuring
decibels in
the
first
>> place.
>>
>>>
>>> The baroque guitar has nothing in common with the
classical
guitar.
>>
>> Some people seem to shiver at the idea...
>>
>>
>>> most of the time it is difficult to hear the bourdon
on the
fifth
>>> course because all it is doing is creating parallel
octaves in
which
>>> the upper part is more audible.
>>
>> For some listeners there are parallel octaves, for
others
the
bass
becomes
>> brighter and stronger, as a result of the blending of
the
overtones
of the
>> two strings, like on the lute or the organ (the latter
has
of
course
no
>> strings).
>>
>>
>>> In the Sarabande the bass line falls a
>>> 7th at the cadence following the double bar - this
big
chord I
comes
>>> out of nowhere!
>>
>> I'm afraid that's what big chords do. It is guitar music
after
all,
in this
>> funny mixed battuto-pizzicato style.
>>
>>
>>> Paradoxically the bourdon on the fourth often sounds
>>> to me more prominent especially in odd places in the
campanellas.
>>
>> Maybe it's not a paradox, since there are more notes on
the 4th
course
>> involved. It seems to be generally accepted that the
bourdon on
the
4th
>> course is needed with Bartolotti, so this happens when
you play
what
the
>> tablature says.
>> In all 5 clips there are only 2 campanela runs, by the
way, they
are
both in
>>
>> the prelude. The section high up the neck in the
courante, for
instance,
>> could be misleading, it is just a 'regular' texture.
>>
>>
>>> But neither is there any evidence that Italians
thought of the
guitar
>>> as having seven strings rather than five and that
used the
separate
>>> strings of the fourth and fifth courses independently
as
a
matter
of
>>> course.
>>
>> Again, it is not so much a matter of using the separate
strings
>> independently, but using your ears (and therefore also
your
hands)
in a more
>>
>> varied way. Or should we believe that the tablature
obliges you
to
always
>> play the two strings (the octave and the bourdon) in
perfect
balance? (This
>> would then of course also apply for the 4th course
bourdon)
>>
>>
>>> It is also unfair to suggest that other people play
the
music
>>> the way that they do because it is fashionable and
that they
havent
>>> given careful thought to what they are doing.
>>
>> Maybe. All the heavyly syncopated afterbeat strumming
(and
percussion)
>> doesn't sound very 17th century to me. Wouldn't it be on
purpose,
as
a
>> 'cross-over'?
>>
>> Lex
>>
>>
>>
>>
>>
>>
>> To get on or off this list see list information at
>>
[8][12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
<[33]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html>
>>
>>
>>
>
>
--
References
1.
[13]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.
com
2.
[14]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.
com
3.
[15]http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.n
l
4.
[16]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmout
h.e
du
5.
[17]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.
com
6.
[18]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmou
th.
edu
7.
[19]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmou
th.
edu
8.
[20]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
<[34]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html>
--
References
1. [35]file://localhost/mc/compose?to=mar...@luteshop.co.uk
<[36]http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co
.uk>
2. [37]file://localhost/mc/compose?to=mar...@luteshop.co.uk
<[38]http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co
.uk>
3. [39]file://localhost/mc/compose?to=vihu...@cs.dartmouth.edu
<[40]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmou
th.edu>
4. [41]file://localhost/mc/compose?to=l...@cs.dartmouth.edu
<[42]http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.
edu>
5.
[43]file://localhost/mc/compose?to=michael.f...@notesinc.com
<[44]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
Inc.com>
6.
[45]file://localhost/mc/compose?to=michael.f...@notesinc.com
<[46]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
inc.com>
7. [47]file://localhost/mc/compose?to=eisenha...@planet.nl
<[48]http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@plan
et.nl>
8. [49]file://localhost/mc/compose?to=vihu...@cs.dartmouth.edu
<[50]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmou
th.edu>
9.
[51]file://localhost/mc/compose?to=michael.f...@notesinc.com
<[52]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notes
inc.com>
10.
[53]file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
<[54]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.edu>
11.
[55]file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
<[56]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.edu>
12.
[57]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
13.
[58]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.com
14.
[59]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.com
15.
[60]http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@plane
t.nl
16.
[61]http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmout
h.edu
17.
[62]http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesi
nc.com
18.
[63]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmou
th.edu
19.
[64]http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmou
th.edu
20.
[65]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
--
References
1. mailto:mar...@luteshop.co.uk
2. mailto:vihuela@cs.dartmouth.edu
3. mailto:mar...@luteshop.co.uk
4. mailto:l...@cs.dartmouth.edu
5. mailto:vihuela@cs.dartmouth.edu
6. mailto:jeanmichel.catheri...@yahoo.com
7. mailto:jeanmichel.catheri...@yahoo.com
8. mailto:vihuela@cs.dartmouth.edu
9. mailto:l...@cs.dartmouth.edu
10. mailto:mar...@luteshop.co.uk
11. mailto:hodgsonmar...@yahoo.co.uk
12. mailto:hodgsonmar...@yahoo.co.uk
13. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
14. mailto:hodgsonmar...@yahoo.co.uk
15. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
16. mailto:vihuela@cs.dartmouth.edu
17. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
18. mailto:l...@cs.dartmouth.edu
19. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
20. mailto:mar...@luteshop.co.uk
21. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co.uk
22. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co.uk
23. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co.uk
24. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
25. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
26. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
27. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
28. http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
29. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
30. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
31. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
32. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
33. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
34. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
35. file://localhost/localhost/mc/compose?to=mar...@luteshop.co.uk
36. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co.uk
37. file://localhost/localhost/mc/compose?to=mar...@luteshop.co.uk
38. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@luteshop.co.uk
39. file://localhost/localhost/mc/compose?to=vihu...@cs.dartmouth.edu
40. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
41. file://localhost/localhost/mc/compose?to=l...@cs.dartmouth.edu
42. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
43. file://localhost/localhost/mc/compose?to=michael.f...@notesinc.com
44. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
45. file://localhost/localhost/mc/compose?to=michael.f...@notesinc.com
46. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
47. file://localhost/localhost/mc/compose?to=eisenha...@planet.nl
48. http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
49. file://localhost/localhost/mc/compose?to=vihu...@cs.dartmouth.edu
50. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
51. file://localhost/localhost/mc/compose?to=michael.f...@notesinc.com
52. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
53. file://localhost/localhost/mc/compose?to=lute-...@cs.dartmouth.edu
54. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
55. file://localhost/localhost/mc/compose?to=lute-...@cs.dartmouth.edu
56. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
57. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
58. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
59. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
60. http://uk.mc263.mail.yahoo.com/mc/compose?to=eisenha...@planet.nl
61. http://uk.mc263.mail.yahoo.com/mc/compose?to=vihu...@cs.dartmouth.edu
62. http://uk.mc263.mail.yahoo.com/mc/compose?to=michael.f...@notesinc.com
63. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
64. http://uk.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
65. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
