Dear David,
Thanks for sharing this - it's fantastic!
Martin
David Van Edwards wrote:
>Dear All,
>
>I apologise for the blatant advertising but some of you may be
>interested in seeing the "folding" theorbo I have recently made for
>Lynda Sayce, which is desig
fifth and
seventh 'fret' positions, a very convenient visual aid, as a shamisen
doesn't have frets. Just likes David van Edwards' foldable theorbo, the
strings are kept at bridge and pegs for greater convenience and longevity.
David
- Original Message -
From: "D
Well done! But scary pics as well ...
Martin de Witte, lute maker from the Netherlands, has made something similar
for an ex-student of mine, Hank Heijink, some years ago. He flies with it
around the world. And years before that Toyohiko used to have a theorbo that
didn't fit into his
spor
Dear David,
Now will your next theorbo be made out of mylar? We
had that wonderful exhibition of 129 guitars at the
Museum of Fine Arts here in Boston. 140,000
people saw the exhibition. You've probably seen the
book based on it, "Dangerous Curves, " by Darcie
Kuronen, the
Dear All,
I apologise for the blatant advertising but some of you may be
interested in seeing the "folding" theorbo I have recently made for
Lynda Sayce, which is designed to pack up small enough to fit into a
standard airline seat.
http://www.vanedwards.co.uk/40a.htm
This has b
Diego and all,
--- [EMAIL PROTECTED] wrote:
>
> Anyway, most of the survived instruments (and also
> my theorbo) can mount
> double strings.
> From this I can assume that we all play
> unhistorically single mounted
> theorbos...
Actually, there's quite clear iconog
At 14:16 +0200 19/6/07, <[EMAIL PROTECTED]> wrote:
>My theorbo (copy of an original by Matteo Sellas) is 80/161. The size is
>quite usual in historical instruments.
>
>
>Diego Cantalupi
>
Dear Diego,
Which Sellas original is it copied from? I can't find any of
My theorbo (copy of an original by Matteo Sellas) is 80/161. The size is
quite usual in historical instruments.
I can't imagine playing Castaldi or Kapsberger on a 95 cm instrument...
Also I can't imagine to have an instrument for any single pitch !
My instrument is stringed with plain
Ciao all,
> Regarding the 'historical evidence', we mus suppose an alternative
> tuning, not only for Meli, but also for Pittoni.
So, as far I understand, the tuning of Melij and Pittoni still today is
a mystery... :-)
All the best,
Arto
To get on or off this list see list information at
h
Like all lutes, theorboes were pitched according to size so as to get the
best sound from the lowest fingered plain gut strings (usually 6th course on
theorboes) whilst remaining within the working stress of the highest course
(usually 3rd). Accordingly your small theorbo (if existing then
"Martyn Hodgson" wrote:
[...] if we use a proper size instrument (ie not an implausible 'toy'
theorbo), against the laws of physics.
Let's assume a string lenght of 80 cm. It's not a toy, but a theorbo usable
for solo music (i.e. the Mantuan 18 courses instrum
The tuning of the tiorba for M's music was discussed at length some time ago
- you'll find it in the archives. Despite some wishful thinking, there's no
historical evidence for octave stringing on the 2nd and, if we use a proper
size instrument (ie not an implausible
On Monday, Jun 18, 2007, at 17:21 America/Los_Angeles, Mathias Rösel
wrote:
> <[EMAIL PROTECTED]> schrieb:
>>
>> Any recent research?
>
> One suggestion I heard of is that both fundamental and and octave
> strings are required for the 1st and 2nd courses.
Not so recent any more, but Andrea Damia
<[EMAIL PROTECTED]> schrieb:
> what might be the current opinion of the pieces "Per la Tiorba" in the
> Libro Quinto of P.P. Melli? Just played them through by theorbo and by
> archlute:
> Both are problematic, but I think archlute has less problems!
>
> Any
Dear lutenists,
what might be the current opinion of the pieces "Per la Tiorba" in the
Libro Quinto of P.P. Melli? Just played them through by theorbo and by
archlute:
Both are problematic, but I think archlute has less problems!
Any recent research?
All the best,
Arto
To get
uot; <[EMAIL PROTECTED]>
> To:
> Sent: Sunday, May 20, 2007 4:54 PM
> Subject: [LUTE] Re: Holborne, was Theorbo tutor
>
>
> > By looking through the Utorpheus pages I noticed that they have a
> > brand new Holborne edition available. Can anyone imagine why this
> >
May 2007 um 14:41 hat Bernd Haegemann geschrieben:
> > Players: Luciano Còntini, Francesca Torelli
>
> When I had a look at Signora Torellis homepage
>
> http://www.francescatorelli.com/
>
> I found out that
> she brought out just now a theorbo tutor. Perhaps of intere
Ed,
Wow, thanks! I'm glad you enjoyed it. And wha
timing - I need to mention one important thing in
conjunction with this album, however.
"Charles Hurel: Works for Theorbo; Christopher
Wilke, theorbo," formerly a self-release with a
different title, is now availab
d
>
>
> - Original Message -
> From: <[EMAIL PROTECTED]>
> To: "Nigel Solomon" <[EMAIL PROTECTED]>; "Lute
> Net"
>
> Sent: Thursday, May 03, 2007 11:36 PM
> Subject: [LUTE] Re: theorbo
>
>
> > Nigel,
> >
>
TED]>; "Lute Net"
Sent: Thursday, May 03, 2007 11:36 PM
Subject: [LUTE] Re: theorbo
> Nigel,
>
>
> I'm going to leave the "virtually the same
> instrument" part out of the question for the moment.
> The whole debate over double vs. single string
On May 4, 2007, at 11:07 AM, Howard Posner wrote:
> You might easily get the impression from recent threads that sometime
> in the third week of June 1601 lute players all abandoned thumb-in and
> started playing thumb-out.
Hi Howard. Actually, it was the fourth week.
> My impression (gathered
etween playing solo or continuo. Someone as
late as Weiss mentioned it when he wrote to Mattheson that the theorbo
and arciliuto are played with nails, while the lute was played with the
fingertips. As for Mr de Visee's playing thorough bass, I simply don't
know evidence of which way he used
-
mostly point towards a lower pitch, i.e. a darker sound. I am sure
players who own both a large Italian and smaller continuo French
theorbo will notice this difference with their thicker strings and
shorter string lengths on their French instruments.
Jorge can argue his point, but there is
at an edition Bartolloti's theorbo music has
been published by the French Lute Society but in this it seems that these
figures have been either edited out or misinterpreted (as in (a) below) without
comment..
Martyn Hodgson
Martyn Hodgson <[EMAIL PROTECTED]> wrote:
I am glad you mentioned Hurel, Chris. I want to say that your theorbo CD
of Hurel is excellent, and I encourage those on this list without a copy
can get it from the Lute Society of America. It is a welcome edition to
recorded theorbo CD's! Well done!
ed
At 02:36 PM 5/3/2007 -0700, [
staldi, Pittoni, Hurel and de Visee. What I do is
basically thumb-over using thumb-index-middle maybe
75-80% of the time. The re-entrant tuning of the
theorbo means that I use the ring finger more
frequently on theorbo than, say, baroque lute.
We know that Kapsberger did not use the right
hand
> Does this mean we should not
> use the same right hand technique to play the theorbo (chitaronne)
> pieces by Piccinini as for De Viséé over a century later,
If Piccinini died in 1639 and Visee flourished around 1700, there are
some 60 years between them. Piccinini tells his reade
! ;)
(500/2.5 = 200)
And it is much more common to play the theorbo! ;))
Arto
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Roman was asking to set proportional spacing. Tomorrow , "per gli esteti"
( it's night here)
Donatella
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Lutelist"
Sent: Sunday, February 25, 2007 10:31 PM
Subject: [LUTE] Re: P
Sorry, private message went to the list...
RT
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Lutelist" ; "Donatella Galletti"
<[EMAIL PROTECTED]>
Sent: Sunday, February 25, 2007 4:28 PM
Subject: [LUTE] Re: Passacagli
Prima di stampare il PDF avresti dovuto cliccare il spacing proporzionale.
Senza di questo sara' un casino visuale...
r
- Original Message -
From: "Donatella Galletti" <[EMAIL PROTECTED]>
To: "Lutelist"
Sent: Sunday, February 25, 2007 12:13 PM
Subject:
Sent: Sunday, February 25, 2007 8:11 PM
Subject: [LUTE] Re: Passacaglia for theorbo
> On Sunday 25 February 2007 18:13, you wrote:
>> On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
>> piece, "passacaglia per tiorba". Tab and midi on
>>
&
> On Sunday 25 February 2007 18:13, you wrote:
>> On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
>> piece, "passacaglia per tiorba". Tab and midi on
>>
>> http://www.webalice.it/dg3011/index.htm
>>
>> enjoy!
>>
>> ( A version for baroque lute will follow)
> and perhaps the y
On Sunday 25 February 2007 18:13, you wrote:
> On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
> piece, "passacaglia per tiorba". Tab and midi on
>
> http://www.webalice.it/dg3011/index.htm
>
> enjoy!
>
> ( A version for baroque lute will follow)
and perhaps the youtube versi
is list,
> but I'm a recent member, lute, theorbo and (early) guitar player from
> Amsterdam. I have been following all the recent discussions with great
> interest!
>
> Greetings from Amsterdam, Jelma van Amersfoort
>
>
>
> On 2/18/07, LGS-Europe <[EMAIL PROTECTE
this list,
but I'm a recent member, lute, theorbo and (early) guitar player from
Amsterdam. I have been following all the recent discussions with great
interest!
Greetings from Amsterdam, Jelma van Amersfoort
On 2/18/07, LGS-Europe <[EMAIL PROTECTED]> wrote:
> Are Juan Carlos R
AIL PROTECTED]>:
>
> Hi,
>
> can anybody recommend a nice recording of the theorbo pieces from
> Robert de Visee (Saizenay Ms.)?
>
> After a quik search it looks like the few recordings that seem to exist
> are
> no longer available.
>
> Thanks,
>
>
On Jan 18, 2007, at 1:12 AM, Eugene C. Braig IV wrote:
> I think you mean Yasunori Imamura (at least that's how it's
> Anglicized on
> his Capriccio release).
Of course I did. Stupid fingers! Just like my lute playing.
> I really like that disc, especially Imamura's
> interpretation of the cha
At 07:13 AM 1/17/2007, Ed Durbrow wrote:
>On Jan 17, 2007, at 7:51 PM, Benjamin Stehr wrote:
>
> > Hi,
> >
> > can anybody recommend a nice recording of the theorbo pieces from
> > Robert de Visée (Saizenay Ms.)?
>
>Not sure if all or any of the pieces come
I saw that on Amazon. That price is totally crazy!! Presumably it's
out of print...?
David R
[EMAIL PROTECTED]
www.rastallmusic.com
On Jan 17, 2007, at 5:55 AM, Benjamin Stehr wrote:
> Hi,
>
>> http://www.amazon.com/Visee-Pieces-Theorbe-
> Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_
On Jan 17, 2007, at 7:51 PM, Benjamin Stehr wrote:
> Hi,
>
> can anybody recommend a nice recording of the theorbo pieces from
> Robert de Visée (Saizenay Ms.)?
Not sure if all or any of the pieces come from the Saizenay MS, but
you would have a hard time to do better than the
There is one in print, with Vincent Dumestre.
RT
- Original Message -
From: "Benjamin Stehr" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>;
Sent: Wednesday, January 17, 2007 5:04 AM
Subject: [LUTE] Re: Recordings of theorbo pieces from Saizenay Ms
> Hi,
&g
Hi,
> http://www.amazon.com/Visee-Pieces-Theorbe-
Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_1_2/105-
6836316-2654830?ie=UTF8&s=music
Thanks for the link! I will try to find it on one of the other stores
90 USD or 81 pounds on amazon.co.uk - crazy...
Benjamin
>
> It is an old Hopkinson
Hi,
try this one on Amazon.com:
http://www.amazon.com/Visee-Pieces-Theorbe-Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_1_2/105-6836316-2654830?ie=UTF8&s=music
It is an old Hopkinson Smith recording, but it's still valid in my opinion.
Luca
Benjamin Stehr on 17-01-2007 11:04 wrote:
> Hi,
Hi,
> I like the Jose Miguel Moreno plays of Robert de Visée.
Yes, i listened to it on amazon, but that seems to be one of those which
are no longer available :-)
Benjamin
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Hi,
can anybody recommend a nice recording of the theorbo pieces from
Robert de Visée (Saizenay Ms.)?
After a quik search it looks like the few recordings that seem to exist are
no longer available.
Thanks,
Benjamin
To get on or off this list see list information at
http
Dear Collected Wisdom,
some pieces of the Goess theorbo ms. bear a sign which resembles a
quaver break in modern staff notation. At first glance, I often
misinterpreted it as a cross, but it isn't a cross. More often than not,
it appears with dotted notes. Is it a break (short taking of b
On Wednesday, Oct 18, 2006, at 13:21 America/Los_Angeles, Stewart McCoy
wrote:
> A transcription involves copying music from one notation
> note-for-note to another, for example, re-writing lute tablature as
> staff notation. For the most part, it is a mechanical job, because
> the notes stay the
ampanella effects on the
theorbo, or omitting notes which go too high, you could call it an
arrangement, but I think I would stick to the word intabulation.
I hope that helps.
All the best,
Stewart McCoy.
- Original Message -
From: "Arto Wikla" <[EMAIL PROTECTED]>
To:
Sen
Hi Roman and all,
On Wed, 18 Oct 2006, Roman Turovsky wrote:
> A 11-13course version is at
> http://polyhymnion.org/swv/opus-2.html
Roman, you were very fast, indeed! May I put a link to my Lully/Marche
page? Or perhaps put even a copy directly to my directory? (with a
link to polyhymnion, of c
Dear fellow lutenists,
at last I had time to make also a theorbo version of the wonderful
"Marche pour la Ceremonie des Turcs" composed by Lully!
Actually it works quite well on the instrument. :-)
My theorbo transcription uses lots and LOTS of the campanella effect
that is made p
> Note that the highest sounding string of the theorbo (e')
> is the _third_ string, not the "top" string (d') which
> is really a second lower. This cooresponds exactly to
> the highest string of the angelique (also e').
> Placement on the instrument
--- "Mathias Rösel" <[EMAIL PROTECTED]>
>
> As for this initial question, we've now reached the
> point where the
> _tessiture_ are compared: e'-C (angelique) vs. d'-C
> (lesser, or French,
> theorbo).
No, as I mentioned in my last message, th
> If you say, however, angeliques are compound
> instruments, consisting of lute bodies, theorboed
> necks, and harp tunings, I should NOT dissent, that is.
--
Best,
Mathias
--
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nstruments have changed but little
since their invention. Things like material, keys,
valves, frets, "accidents" of design, merely represent
technological modifications of an initial idea (the
"invention") that often stretched back somewhere in
pre-history.
>The angelique
>>> We must be very careful! There exist an Angelique in Paris (E.
>>> 980.2.317, see the new catalogue p. 94) with a neck (not a swan
>>> neck,
>>> but also not a true theorbo neck - it's something between) who is
>>> known from French iconogra
e angelique
come from?
Is it not reasonable to propose that the angelique
came about by modifying existing theorbos,
specifically the French solo theorbo? As you say
above, the surviving examples are "small,
single-strung." This sounds more like a solo theorbo
than a lute. Since doubled-hea
ng angeliques aren't converted theorbos. That much
can safely be said.
> > We must be very careful! There exist an Angelique in Paris (E.
> > 980.2.317, see the new catalogue p. 94) with a neck (not a swan neck,
> > but also not a true theorbo neck - it's something between) w
D]>
>To: " Mathias R=F6sel " <[EMAIL PROTECTED]>
>Cc: "Lutelist"
>Sent: Sunday, October 08, 2006 1:46 PM
>Subject: [LUTE] Re: Angelique (olim Another Theorbo Question)
>
>
> > Hello
> >
> > We must be very careful! There exist an Ange
Message -
From: "Andreas Schlegel" <[EMAIL PROTECTED]>
To: " Mathias Rösel " <[EMAIL PROTECTED]>
Cc: "Lutelist"
Sent: Sunday, October 08, 2006 1:46 PM
Subject: [LUTE] Re: Angelique (olim Another Theorbo Question)
> Hello
>
> We must be
Hello
We must be very careful! There exist an Angelique in Paris (E.
980.2.317, see the new catalogue p. 94) with a neck (not a swan neck,
but also not a true theorbo neck - it's something between) who is
known from French iconographic sources from 1660-80.
I know a Tielke lute from 16
>> Swan-necks on angeliques predate the
>> purported/alleged "invention" by some
>> 50 years.
> > The oldest two out of those four angeliques in Schwerin date from 1704
> > (both made by Tielke). One angelique in Munich is a former lute, dated
> > from 1633. (According to Pohlmann 1982, p. 596-7)
> > Swan-necks on angeliques predate the
> > purported/alleged "invention" by some
> > 50 years.
The oldest two out of those four angeliques in Schwerin date from 1704
(both made by Tielke). One angelique in Munich is a former lute, dated
from 1633. (According to Pohlmann 1982, p. 596-7)
> The a
On Friday, Oct 6, 2006, at 05:27 America/Los_Angeles, Rob Dorsey wrote:
> Actually there is apparently, reading Narvey, considerable evidence
> that
> English theorbists adopted the Dm tuning despite it being a French
> initiative. Go figger' huh?
Mace, writing in 1676, sai
Hi all,
I wrote:
> This could be a good idea to me: I have now my smaller theorbo (Barber's
> French theorbo, 76cm:8x1/140cm:6x1) stringed and tuned to high
> d-theorbo, but that instrument could be easily set also to d-minor
> tuning. But what would our collective "
--- Roman Turovsky <[EMAIL PROTECTED]> wrote:
> Swan-necks on angeliques predate the
> purported/alleged "invention" by some
> 50 years.
> RT
The angelique is essentially a converted _theorbo_,
not a lute. In this case, the theorboed extension was
already there and the "swan-necking" was merely
> Lucas,
>
>What about the dm lute in ensemble music, period?
> We know that there is actually a significant amount of
> music for baroque lute with other instruments.
> Supposedly, Weiss worked to invent the swan neck lute
> especially so that it could be heard in instrumental
> groups.
Swan-
can presume that he played
(dm?) theorbo in orchestral situations, there is a
letter from Weiss in which he describes accompanying
an aria on the lute - which he thought worked well in
terms of balance only _because_ he was joined by just
the basses and harpsichord. They must have worked
something
Sent: Friday, October 06, 2006 1:26 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Another Theorbo Question
On Thursday, Oct 5, 2006, at 22:21 America/Los_Angeles, LGS-Europe
wrote:
>> After 1680 the tuning nuveau in Dm spread with the "Enlightenment"
>> movement to includ
In einer eMail vom 06.10.2006 09:26:20 Westeurop=E4ische Normalzeit schreibt
[EMAIL PROTECTED]:
> But what would our collective "hip police" say about playing
> Gaultier, Weiss, Falkenhagen, Losy, etc. by a single strung
> instrument... ;-))
>
> Arto
>
Nothing new about that have a look
Hi all
> Yet another theorbo question. It seems to me that a moderately-sized
> solo theorbo in D minor tuning would be a good all-purpose Baroque
> lute upon which one could play the "modern" late 17th/early 18th-
> century continuo, as well as all the German (and ma
very nortern Europe, too, that stayed in old
> tuning.
>
> David
And the English theorbo.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> and not opinion, definitive. After 1680 the tuning nuveau in Dm spread
> with
> the "Enlightenment" movement to include lutes and theorbos played in
> northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
David
To get on or off this list see list
2006 8:54 PM
To: 'Nancy Carlin'; 'David Rastall'; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Another Theorbo Question
David and All,
The article by Narvey is excellent, scholarly and, given that it is factual
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread w
octave or, more
inventively, just dropping out the first course tuning and opting for
d,a,f,D,A,G, etc.
Having played continuo in Dm tuning on my 76/120 "theorbo" lute, I can say
that it falls readily to hand and many chords (in keys popular with the
bowed instruments, barokflaute and rec
Administrator
>Yet another theorbo question. It seems to me that a moderately-sized
>solo theorbo in D minor tuning would be a good all-purpose Baroque
>lute upon which one could play the "modern" late 17th/early 18th-
>century continuo, as well as all the German (and maybe ev
Dear Luters,
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the "modern" late 17th/early 18th-
century continuo, as well as all the German (and maybe even som
Dear list,
Many thanks to those of you who responded to my recent questions
regarding theorbos. Your input is much appreciated.
David R
[EMAIL PROTECTED]
www.rastallmusic.com
--
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Chris sent this additional information.
===
> Dear Arthur
>
> Tempus fugit indeed!
>
> Boethius/Severinus facsimiles are now sold by Jacks,
> Pipes and Hammers - you
> can see their ad in LSAQ - e.g. on p. 10 of the
> February 2006 number
>
> all the best
> Chr
David,
The body of the lute/theorbo - particularly the t'bo - affects the sound
profile immensely. By body shape we actually mean the shape and volume of
the air cavity within the body and how its volume and distribution affect
the propagation of the vibrations of the sound board. Likewise
If one is so fortunate as to be able to play a lute or theorbo prior to
purchase and you can bring along someone knowledgeable to listen to you play
it, I'd add the suggestion you should bring along someone (hopefully the same
person) whose playing you trust to play it, too, so you can l
--- Herbert Ward <[EMAIL PROTECTED]> wrote:
> > At some places, I've even learned to hold back
> when I
> > use the small guy so that the sound doesn't get
> too
> > annoying.
>
> Once I saw a Steinway baby grand that had a nicer
> bass than a larger Steinway a few feet away. Not
> louder, but c
> At some places, I've even learned to hold back when I
> use the small guy so that the sound doesn't get too
> annoying.
Once I saw a Steinway baby grand that had a nicer
bass than a larger Steinway a few feet away. Not
louder, but clearer and more musical. Is this
phenomenon also possible in t
Arthur Ness écrit:
>When Boethius took clerical orders, he took the name
>Severinus. Check Severinus Press. It's still in print:
Great! Thanks, Arthur.
Dennis
To get on or off this list see list information at
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David,
I have to disagree with the prevailing opinion
somewhat: bigger is not always better. I speak from
some experience, owning both a gigantic theorbo (99cm
on the board(!), diapasons around 6 1/2 feet long) and
a smaller one (76cm fingerboard/119 diapasons).
Nowadays I use the small one
ajn.
- Original Message -
From: "dc" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, September 13, 2006 6:46 AM
Subject: [LUTE] Re: theorbo question
> LGS-Europe écrit:
>> For a good general introduction to theorbo playing
>> turn to Kevin
>>Mason's "The
Dear David and All:
I would say a larger body is more important, because it takes a "critical
mass" of top area to reproduce that bass note, sort of like a bass drum. That
is
one reason why many archlutes are deficient in the bass register, in my
opinion.
A luthier once showed me an archlute
LGS-Europe écrit:
> For a good general introduction to theorbo playing turn to Kevin
>Mason's "The Chitarrone and its repertoire in early seventeenth-century
>Italy" (Boethius 1989)
Hello David,
This sounds very interesting, but it seems to be out of print. Does anyo
Dear David
> question is: which is more important to the production of a full,
> substantial theorbo sound...long playing length, or a large body? Or
> is it a combination of both?
For theorbos it's simple: bigger is better. Big body, long stopped strings,
long diapassons. Yo
with 10 frets on the
fingerboard, the body is not exactly huge. I've also seen theorboes
with larger bodies with eight or nine frets on the fingerboard and
around 120 cm.diapasons: large body, short neck extension. So my
question is: which is more important to the production of a full,
ets on the
fingerboard, the body is not exactly huge. I've also seen theorboes
with larger bodies with eight or nine frets on the fingerboard and
around 120 cm.diapasons: large body, short neck extension. So my
question is: which is more important to the production of a full,
substantia
- Original Message -
From: "Arto Wikla" <[EMAIL PROTECTED]>
To:
Sent: Monday, September 11, 2006 7:07 PM
Subject: [LUTE] One marking in Saizenay ms, theorbo tab?
> Dear collective wisdom,
>
> in the Saizenay ms. there is is a marking in one theorbo piece that
Dear collective wisdom,
in the Saizenay ms. there is is a marking in one theorbo piece that is
(probably) borrowed from guitar tabulature signs. In the beginning of
the Chaconne, in page 288, there is the chord progression named "pour la
Chaconne", where the writer has used eight n
There is such a publication, but - without having seen it myself - I think it's
probably archlute/liuto attiorbato music, rather than theorbo. This is what it
says on the Society's website:
Selections from Piccinini and Kapsberger for Solo Renais
Dear Dick and All:
Even more helpful, hasn't the Lute Society in England actually published a
volume of Piccinini and Kapsberger in French tab for 10-course lute?
Cheers,
Jim
--
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Django format. Django is a tab maker/viewer available for
> free (in a limited version) at the first website.
>
> Jim
>
>
> On 9/10/06, "Mathias R=F6sel" <[EMAIL PROTECTED]> wrote:
> >
> > "Richard Brook" <[EMAIL PROTECTED]> schrieb
ECTED]> wrote:
>
> "Richard Brook" <[EMAIL PROTECTED]> schrieb:
> > Does anyone know whether Theorbo solo music, particularly from
> > "Intavolature Di Chitarrone," Kapsberger, Piccinini, and Viviani has
> > been put into French tab?
>
> W
Does anyone know whether Theorbo solo music, particularly from
"Intavolature Di Chitarrone," Kapsberger, Piccinini, and Viviani has
been put into French tab?
Thanks, Dick Brook
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Hoi Taco
> My theorbo with gutstrings needs to have the frets with an angle to the
> strings to get a correct tone. I.e. the fret needs to be shifted in the
> direction of the pegbox on the side where you look, while at the side of
> the
> handpalm they stay at the original loc
On Friday 01 September 2006 03:31, you wrote:
dear all,
Just a question what came to mind reading the mails on frets.
My theorbo with gutstrings needs to have the frets with an angle to the
strings to get a correct tone. I.e. the fret needs to be shifted in the
direction of the pegbox on the
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