[BAROQUE-LUTE] Re: new 11c!
Rob Yes, indeed, I doubt whether there is a great deal of difference between 9 ribs and 11 ribs. Burwell, mentioned that 7 ribs, 9 ribs, or 11 ribs were best, I suppose, writing about D minor tuning. I wonder whether 7 ribs did ever exist? Has any one tried to make one? Stephen did say he could make me a 9 ribbed Warwick, but as I wanted an 11/10c, I wondered whether the 11 ribs would not be a fair balance between the multi-ribbed lutes, often used as 10c lutes in "Vieil ton " and the Bologna lutes used for "Nouveau ton". You see, I have taken on board your "hypothesis". As I think i told you, I bought Liz Kenny's Lawes songs, in which I believe she plays on a large multi-ribbed lute with a dark sound http://tinyurl.com/ypnlbk, and it is superb for the sombre music of Cuthbert Hely, in the Vieil Ton. Miguel Serdoura, one of my neighbours here, tells me he heard her concert at Bâle, "THE JACOBEAN LUTE - personalities from the mysterious Cuthbert Hely to the murderous Jacques Gaultier and Shakespeare’s in-house composer, Robert Johnson. Devised for the Basel Lute series, February 2007." He tells me it was superb, and I believe she used this multi-ribbed lute for that? Somebody told me I was mistaken, and in fact she was playing a Warwick. I honestly doubt it, because of the dark sound (on the CD), but sometimes, it can be the acoustics. Does anyone know? Perhaps later I will therefore consider a 10c Rauwolf (I can't think that I will swap very frequently between 10/11c), so I am keeping the 10c Rauwolf as a future option. I think it would be excellent for late Renaissance, early Transitional Baroque. However, for now I am going to concentrate on the 11c qualities of the Warwick. Well, I should say in the near future, as Stephen will begin at the end of January. I am pleased to read that your 69 cm Maler is strung entirely in gut. that is certainly audible in the recording, and what a clear but warm sound with exceptional depth to it. Even on my computer with special outboard speaker this is audible. The new photos and sound have now materialized (Lewis Carrol-like). I imagine this was well worth the wait for you. Incidentally, Plum necks are superbly organic. I would have liked one, having tried a Frei with such a neck by Stephen, but I had a few doubts about my ability to change frets without marking it. For all other considerations, Plum is definitely superior, as Burwell rightly says. Best regards Anthony Le 13 déc. 07 à 18:30, Rob a écrit : Great. Did you settle for the Warwick Frei? That's a great lute to copy for a ten or eleven course. Rob www.rmguitar.info -Original Message- From: Anthony Hind [mailto:[EMAIL PROTECTED] Sent: 13 December 2007 14:56 To: [EMAIL PROTECTED]; baroque-lute@cs.dartmouth.edu Subject: Re: [BAROQUE-LUTE] Re: new 11c! Rob I have just been speaking to Stephen, and he is willing to take photos of my lute in construction just as for yours. I will find some way of showing them to the list. He very much likes the idea, in fact. Best regards Anthony Le 13 déc. 07 à 10:36, Rob a écrit : To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c!
Great. Did you settle for the Warwick Frei? That's a great lute to copy for a ten or eleven course. Rob www.rmguitar.info -Original Message- From: Anthony Hind [mailto:[EMAIL PROTECTED] Sent: 13 December 2007 14:56 To: [EMAIL PROTECTED]; baroque-lute@cs.dartmouth.edu Subject: Re: [BAROQUE-LUTE] Re: new 11c! Rob I have just been speaking to Stephen, and he is willing to take photos of my lute in construction just as for yours. I will find some way of showing them to the list. He very much likes the idea, in fact. Best regards Anthony Le 13 déc. 07 à 10:36, Rob a écrit : > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c!
Rob I have just been speaking to Stephen, and he is willing to take photos of my lute in construction just as for yours. I will find some way of showing them to the list. He very much likes the idea, in fact. Best regards Anthony Le 13 déc. 07 à 10:36, Rob a écrit : To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: New 11c
Talk about riddles, where did that "feuille de voyage SNCF come from" I haven't taken a train since last year Anthony Le 13 déc. 07 à 14:57, Anthony Hind a écrit : Le 13 déc. 07 à 00:06, Rob a écrit : Sorry if I made you feel I was criticizing you for asking questions - far from it! I have too many of them myself. Eventually I just give up, and then the answers often come to me. But by then I've forgotten the question! I feel like the Winnie the Pooh of the lute...most players are more like Eeyore, especially Dowland in his gloomy place! Keep questioning. There are a few Owls you should watch out for, though. Rob www.rmguitar.info Rob I now understand, I missed out on one essential piece of English culture. I have never read Winnie the Pooh, or had it read to me, as far as I remember. My father, on the other hand, was a permanent poser of riddles for which there was never any logical solution. I am by inclination, and by profession, being an experimental phonetician, drawn myself now to raising riddles, and on very rare occasions actually solving them. I expect that makes me an Owl, rather than a Winnie, or an Eeyore, but I am wildly guessing. Your piece of prose above, rings to me just like one of my father's unsolvable [EMAIL PROTECTED] Indeed your words about the Bologna lutes, the 9 ribs, the free sound and the resonance of the open strings in the D minor tuning, also rings like a riddle to me. Call it an interesting hypothesis, but that might be too fancy (probably an Owlish word?). Did the fashion for the Bologna lutes correspond almost exactly with the discovery of this tuning? If it did (and that is not certain), was it indeed chosen for the freedom of sound going so well with this tuning, (does the age of the wood that sweetens the tone also lower the impedance, I suspect it might)? Many lutists just seem to consider the elegant Bologna shape both from appearance and for posture, that determines their choice for this music, quoting the Charles Mouton portrait, but Burwell, explicitly says these lutes were not chosen for their "figure". Was the later partial return to larger more rounded multi ribbed lutes, in the later German Baroque era, simply because Malers had run-out, and German made 9 ribbed lutes a failure, so even these multi ribbed "monsters" became acceptable, or was it again because the music had changed. French music was more Mid orientated. German Baroque seems to have more of a bass ground. So perhaps, again it is the music which may have dictated the change. Your "riddle" seemed one interesting way of looking at this issue, and as usual it gives birth to more riddles (no rhyming slang intended). I will admit that some will not care why they have chosen, and just get on and play. Then you get strange remarks thrown at you, like, thereare the thinkers and the doers. I see no problem with both. Regards Anthony PS My computer seems to have learnt from my mistakes. Before when I wanted to type in Baroque, I had to type in the whole word, now the initial letter seems to trigger the address. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: New 11c
Le 13 déc. 07 à 00:06, Rob a écrit : Sorry if I made you feel I was criticizing you for asking questions - far from it! I have too many of them myself. Eventually I just give up, and then the answers often come to me. But by then I've forgotten the question! I feel like the Winnie the Pooh of the lute...most players are more like Eeyore, especially Dowland in his gloomy place! Keep questioning. There are a few Owls you should watch out for, though. Rob www.rmguitar.info Rob I now understand, I missed out on one essential piece of English culture. I have never read Winnie the Pooh, or had it read to me, as far as I remember. My father, on the other hand, was a permanent poser of riddles for which there was never any logical solution. I am by inclination, and by profession, being an experimental phonetician, drawn myself now to raising riddles, and on very rare occasions actually solving them. I expect that makes me an Owl, rather than a Winnie, or an Eeyore, but I am wildly guessing. Your piece of prose above, rings to me just like one of my father's unsolvable [EMAIL PROTECTED] Indeed your words about the Bologna lutes, the 9 ribs, the free sound and the resonance of the open strings in the D minor tuning, also rings like a riddle to me. Call it an interesting hypothesis, but that might be too fancy (probably an Owlish word?). Did the fashion for the Bologna lutes correspond almost exactly with the discovery of this tuning? If it did (and that is not certain), was it indeed chosen for the freedom of sound going so well with this tuning, (does the age of the wood that sweetens the tone also lower the impedance, I suspect it might)? Many lutists just seem to consider the elegant Bologna shape both from appearance and for posture, that determines their choice for this music, quoting the Charles Mouton portrait, but Burwell, explicitly says these lutes were not chosen for their "figure". Was the later partial return to larger more rounded multi ribbed lutes, in the later German Baroque era, simply because Malers had run- out, and German made 9 ribbed lutes a failure, so even these multi ribbed "monsters" became acceptable, or was it again because the music had changed. French music was more Mid orientated. German Baroque seems to have more of a bass ground. So perhaps, again it is the music which may have dictated the change. Your "riddle" seemed one interesting way of looking at this issue, and as usual it gives birth to more riddles (no rhyming slang intended). I will admit that some will not care why they have chosen, and just get on and play. Then you get strange remarks thrown at you, like, thereare the thinkers and the doers. I see no problem with both. Regards Anthony PS My computer seems to have learnt from my mistakes. Before when I wanted to type in Baroque, I had to type in the whole word, now the initial letter seems to trigger the address. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c!
I wouldn't presume to be able to teach tone production. Just think pleasant thoughts and don't vote conservative...oh, and I'm the chief dish washer in our house - hot soapy water makes for a warm tone, in my experience. But that might not be so entertaining to watch on youtube (on the other hand...). Rob www.rmguitar.info -Original Message- From: Stephen Arndt [mailto:[EMAIL PROTECTED] Someday when you can manage the time, I wish you would make an instructional video on tone production and post it on YouTube. I would watch it a thousand times. Stephen Arndt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: New 11c
Rob, i see my reply to you, never arrived, perhaps you read it, and you will understand that the question of choosing to which list you send a message is not so evident. My message was automatically destroyed, not I hasten to say because of any questionable content, but because I put a few photos of messages to show that many messages about Baroque questions, including the recent one about "nails and Weiss" do get sent to LUTE. LUTE is the neutral choice, while BAROQUE takes a decision. My question below, was rhetorical, of course, I know, as you do, that there is no such thing, as an "ideal" lute (notice the "guillemets", in my original message). However, I have been trying to find out, not THE answer, but answers to that question, for some years, as Martin could tell you, when I helped him send a message about this to the French list . It is true, I am in the process of ordering a lute, but that does not alter my questioning. It is a chance to look at it in more acuity. I happen to be a phonetician, and acoustics, and resonators, are our stock in trade. This inclines me to ask such questions. I am rather surprised, in fact, that few lutists seem to do so. Indeed, I was quite positively surprised to see you mentioning specifically, this question of resonance, open strings and the type of tuning, in favour of Bologna lutes (a little in the same direction as Burwell, although, she doesn't actually make the relation with the music). Indeed, I quoted you on that point to Stephen who seemed basically to be in agreement with you. I do not want to begin discussing the question right now, but, I do notice that when Hoppy made recordings on LP, his reasons supported by Musicologists for choosing a particular lute-type for specific composers of French Baroque music, were purely iconographic, with no reference what so ever to the type of music. I regret, that at present, not only do lutists not explain why they choose a particular lute for a type, of music; you are lucky if they mention the maker of the lute, and certainly it is rare to see any discussion of string type. Actually, my decision was already made, a few days ago; but that will not stop me continuing asking such a question. I have found strings that work well on my Renaissance lute (though constant questioning and researching, mainly on the web, but also by mail), this does not prevent me from continuing to be interested in the question of string choice. I hope it does not mean I am not relaxed, although an attitude of research rarely goes together with complete relaxation. I am not of course criticizing the qualities of Burwell, when data is rare, how can we. However, what is said is quite sketchy, two pages on the topic, and yet it is massively quoted. How can it be otherwise, but I can't help feeling this is very similar to the question raised by the Cahiers 7 and Joel Dugot, on the conclusions we can draw about lutes of earlier periods, from those few that happen to exist in museums at present. We do have to rely on them, in fact, what else can we do (that and iconography), but there is often a tendency to use this small quantity of data to support our need for standardization (see the 8c lute question for this tendence). As you say, we can learn from our students, but only I think, if we remain permanent students ourselves (I stopped carrying a student card at the age of 46), but I am still on a permanent quest for understanding. You can't switch off your research attitude, just because you have retired (as I have done, I mean retire). I hope that raising questions will never be confused with putting in question and lack of trust. I have often been told by lutists that certain subjects should be left to lutemakers (I don't want to know what is inside, told me one fellow). Personally, I am really intrigued, by seeing the inside of a lute, and I find those photos on of the J-barring on your site extremely interesting. Even for string choice, I have been told, why don't you just trust your lute maker. I am ready to trust, but like the young child, I will continue to ask questions. I am really interested. I know how little I know in this area, and because of this, I rarely make statements, unless I feel sure I can back them up; but I have learnt that it is not finding the answers that makes a good student, it is asking the questions, preferably the right questions, but failing that just questions, something may come out of it. Enjoy your lute regards Anthony Le 12 déc. 07 à 21:48, Rob a écrit : Anthony Hind said: I am trying to make a question about what the "ideal" French Baroque lute might be. <<< Well, there probably never was or will be such a thing. I imagine most players had a few instruments by different makers, just as today, even if they were all of a kind, 11 courses. And they pro
[BAROQUE-LUTE] Re: New 11c
Rob You have given us no news of the latest arrival. perhaps you have not had enough time, but we are all (well at least, one of us) waiting impatiently to hear about it. Regards Anthony PS I remembered the Baroque list too, this time. I am trying to make a question about what the "ideal" French Baroque lute might be. Let's not call it standard (as in the 8c debate. but I suppose there is a tendency to standardize, thus the tendency to Frei/ Frey). I wish it was possible to settle on one lute (close enough to this ideal) for all the repertoire, but I doubt this is possible. There may be more than one "ideal" according to the phase within this period (French Baroque) or even according to composer/performer. We also probably give too much importance to the very few texts that talk about this from the period. I am wondering whether taking Burwell too literally would not be like taking one of my students notes, or even my notes for my students, too seriously. AH Le 12 déc. 07 à 16:17, Rob a écrit : Very clever, Joseph, but I never once said that 'Weiss hints that he used nails'. I see no evidence for that in Weiss' or my own comments. This one could run and run...I'm off to practice my new 11c... Rob = I think this might be a case of "front-end loading." That is: looking at data from an established point of view - to whit: Weiss hints that he used nails - that's inconclusive. If Weiss hinted that he didn't use nails - that would be evidence. Joseph Mayes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c lute - pics
et you are eager to get this instrument, Rob! > > I had a Mahler years ago, a 10 course, and it sounded fantastic. A > deep, > rich sound. As you know, Mace, Burwell, and even Baron gave such high > ranking for his lutes. > > What strikes me as being so interesting is in the simplicity of his > designs. No frills, just beautiful instruments, with great sound. > When I > think of Maler (Mahler), I am impressed with a design in which the > quality > was in the workmanship and materials, with attention to detail, but > using > excellence of workmanship instead of fancy ornamentation. A real > working > man professional instrument, in which the whole concept was in > fantastic sound. > > At the length of 69 cm, it may be a wee bit too long to get a gut > treble to > work, at f 415. If you tune it slightly lower that 415, you may have > better luck with trebles. At any rate, Martin builds beautiful > lutes, be > assured. > > In addition to the beautiful French baroque, you can also do Reusner, > Conradi, Kellner, early Weiss. What fun > > ed > > > > At 02:26 PM 11/21/2007 +, Rob wrote: >> Found out the string length (69) and model 354. Martin Shepherd >> wrote this >> in an email to me, and I'm sure he won't mind me sharing the info: >> >>>>> I have very little information on the original instrument >>>>> because it (and >> its >> friend) are hidden away in a Bohemian castle instead of in the >> main museum >> in Prague. When I went there about three years ago I was informed >> that the >> musical instrument collection was in storage, presumably awaiting >> transfer >> to the castle. If I remember correctly the meagre information I >> have been >> able to glean, in its present state it is a 13c lute with a string >> length of >> 67.3cm. (I have a drawing of the body, but no data on the neck >> and pegbox). >> When I made your lute I discovered that the string length had to >> be longer >> to get the "normal" >> proportions of an 11c lute, that is where the neck/body join is >> close to >> where the tenth fret would be, allowing the ninth fret to be tied >> without >> too much difficulty (the angle of the neck/body joint is such that >> if the >> fret comes too close to the body it has to be tied on at a crazy >> angle and >> anchored by notches in the edge of the fingerboard).<<< >> >> Maler originals were often used in the 17th century for 11c >> instruments. The >> shape and sound were very much in fashion. Yet there are very few >> luthiers >> who use Malers today, preferring instead the beautiful Warwick >> Frei. We did >> consider the Frei, but settled on the Maler as a sort of >> experiment. There >> will no veneer and only nine ribs. For the French repertoire, >> volume is of >> less interest to me than resonance. As ever, one can only wait and >> see what >> the result will be. Very much looking forward to it. >> >> Rob >> >> www.rmguitar.info >> >> >> >> -Original Message- >> From: Edward Martin [mailto:[EMAIL PROTECTED] >> Sent: 21 November 2007 14:02 >> To: [EMAIL PROTECTED]; 'BAROQUE-LUTE' >> Subject: Re: [BAROQUE-LUTE] Re: new 11c lute - pics >> >> Rob, >> >> You will absolutely love 11 course music, on an 11 course lute. >> It is very >> satisfying. >> >> ed >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> >> -- >> No virus found in this incoming message. >> Checked by AVG Free Edition. >> Version: 7.5.503 / Virus Database: 269.16.2/1142 - Release Date: >> 11/20/2007 5:44 PM > > --
[BAROQUE-LUTE] Re: New 11c - Pics
Rob It might be my fault. I did not notice which address the message came through, as I receive both. I just clicked on lute. There is no automatic formatting to send the message back, other than to the individual who sent it. Therefore, at each occasion you have to notice where the message was addressed. Unfortunately, to type in lute, I only need to click on "l", to type in [BAROQUE-LUTE] , I need to type three quarters of it. The first, sort of comes naturally, the second takes concentration. However, in the back of my mind, I suppose I was also thinking that the question about Maler "ateliers" could be of icommon nterest. When talking with Martin, for example he always seems to be looking at both aspects of a lute's history, its original 6c (or whatever) form and its various stages of "Baroquing ". He never really talks about the one without the other. I realize that the point of view of a lute maker, and of a player in this respect, will be different. I will, therefore, try be more careful next time. Appologies for any inconvenience that this might have caused you. Fortunately, I notice that the Skype question did not appear in that message. Regards Anthony Le 22 nov. 07 à 13:55, Rob a écrit : I tried to send the following message, but it contains a word which Wayne's server doesn't like (it begins with su). I got an email asking me to not use that word for the first five lines of text, so here I am talking nonsense and wasting your precious time. Please jump ahead to the paragraph below. I tried to send the following message, but it contains a word which Wayne's server doesn't like (it begins with su). I got an email asking me to not use that word for the first five lines of text, so here I am talking nonsense and wasting your precious time. Please jump ahead to the paragraph below. I tried to send the following message, but it contains a word which Wayne's server doesn't like (it begins with su). I got an email asking me to not use that word for the first five lines of text, so here I am talking nonsense and wasting your precious time. Please jump ahead to the paragraph below. Someone has emailed me to say that this discussion thread (my new 11c) has migrated to the Lute list, of which I am not a subscriber. Could we please keep it here on the baroque lute list? It is about baroque lutes, after all, and I did start the thread.. Sorry about the bit at the start of this post. Rob www.rmguitar.info -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c lute - pics
I'll bet you are eager to get this instrument, Rob! I had a Mahler years ago, a 10 course, and it sounded fantastic. A deep, rich sound. As you know, Mace, Burwell, and even Baron gave such high ranking for his lutes. What strikes me as being so interesting is in the simplicity of his designs. No frills, just beautiful instruments, with great sound. When I think of Maler (Mahler), I am impressed with a design in which the quality was in the workmanship and materials, with attention to detail, but using excellence of workmanship instead of fancy ornamentation. A real working man professional instrument, in which the whole concept was in fantastic sound. At the length of 69 cm, it may be a wee bit too long to get a gut treble to work, at f 415. If you tune it slightly lower that 415, you may have better luck with trebles. At any rate, Martin builds beautiful lutes, be assured. In addition to the beautiful French baroque, you can also do Reusner, Conradi, Kellner, early Weiss. What fun ed At 02:26 PM 11/21/2007 +, Rob wrote: >Found out the string length (69) and model 354. Martin Shepherd wrote this >in an email to me, and I'm sure he won't mind me sharing the info: > > >>>I have very little information on the original instrument because it (and >its >friend) are hidden away in a Bohemian castle instead of in the main museum >in Prague. When I went there about three years ago I was informed that the >musical instrument collection was in storage, presumably awaiting transfer >to the castle. If I remember correctly the meagre information I have been >able to glean, in its present state it is a 13c lute with a string length of >67.3cm. (I have a drawing of the body, but no data on the neck and pegbox). >When I made your lute I discovered that the string length had to be longer >to get the "normal" >proportions of an 11c lute, that is where the neck/body join is close to >where the tenth fret would be, allowing the ninth fret to be tied without >too much difficulty (the angle of the neck/body joint is such that if the >fret comes too close to the body it has to be tied on at a crazy angle and >anchored by notches in the edge of the fingerboard).<<< > >Maler originals were often used in the 17th century for 11c instruments. The >shape and sound were very much in fashion. Yet there are very few luthiers >who use Malers today, preferring instead the beautiful Warwick Frei. We did >consider the Frei, but settled on the Maler as a sort of experiment. There >will no veneer and only nine ribs. For the French repertoire, volume is of >less interest to me than resonance. As ever, one can only wait and see what >the result will be. Very much looking forward to it. > >Rob > >www.rmguitar.info > > > >-Original Message- >From: Edward Martin [mailto:[EMAIL PROTECTED] >Sent: 21 November 2007 14:02 >To: [EMAIL PROTECTED]; 'BAROQUE-LUTE' >Subject: Re: [BAROQUE-LUTE] Re: new 11c lute - pics > >Rob, > >You will absolutely love 11 course music, on an 11 course lute. It is very >satisfying. > >ed > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >-- >No virus found in this incoming message. >Checked by AVG Free Edition. >Version: 7.5.503 / Virus Database: 269.16.2/1142 - Release Date: >11/20/2007 5:44 PM
[BAROQUE-LUTE] Re: new 11c lute - pics
Found out the string length (69) and model 354. Martin Shepherd wrote this in an email to me, and I'm sure he won't mind me sharing the info: >>>I have very little information on the original instrument because it (and its friend) are hidden away in a Bohemian castle instead of in the main museum in Prague. When I went there about three years ago I was informed that the musical instrument collection was in storage, presumably awaiting transfer to the castle. If I remember correctly the meagre information I have been able to glean, in its present state it is a 13c lute with a string length of 67.3cm. (I have a drawing of the body, but no data on the neck and pegbox). When I made your lute I discovered that the string length had to be longer to get the "normal" proportions of an 11c lute, that is where the neck/body join is close to where the tenth fret would be, allowing the ninth fret to be tied without too much difficulty (the angle of the neck/body joint is such that if the fret comes too close to the body it has to be tied on at a crazy angle and anchored by notches in the edge of the fingerboard).<<< Maler originals were often used in the 17th century for 11c instruments. The shape and sound were very much in fashion. Yet there are very few luthiers who use Malers today, preferring instead the beautiful Warwick Frei. We did consider the Frei, but settled on the Maler as a sort of experiment. There will no veneer and only nine ribs. For the French repertoire, volume is of less interest to me than resonance. As ever, one can only wait and see what the result will be. Very much looking forward to it. Rob www.rmguitar.info -Original Message- From: Edward Martin [mailto:[EMAIL PROTECTED] Sent: 21 November 2007 14:02 To: [EMAIL PROTECTED]; 'BAROQUE-LUTE' Subject: Re: [BAROQUE-LUTE] Re: new 11c lute - pics Rob, You will absolutely love 11 course music, on an 11 course lute. It is very satisfying. ed To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: new 11c lute - pics
Almost a lute. Just add 4 strings and you'll have a REAL one. Dale - Original Message - From: "Edward Martin" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "'BAROQUE-LUTE'" Sent: Tuesday, November 20, 2007 7:36 PM Subject: [BAROQUE-LUTE] Re: new 11c lute - pics I am certain you will love it, Rob. I also have a very nice 11 course lute, aster Frei - the C 34 lute. What is the mensur to be? ed At 03:46 PM 11/20/2007 +, Rob wrote: I haven't received it yet, but here are 'work in progress' pics: http://www.rmguitar.info/Maler.htm Only three weeks or so to go. Rob www.rmguitar.info -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.503 / Virus Database: 269.16.1/1140 - Release Date: 11/19/2007 7:05 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
