Re: Antwort: Re: lute string?

[Dr. Marion Ceruti]

-Original Message-
From: Sean Smith <[EMAIL PROTECTED]>
Sent: May 13, 2005 12:26 PM
To: Lutelist 
Subject: Re: Antwort: Re: lute string?

>
> If using sand paper, I would not only fine grit,
> such as finer than 250, or even 400, finishing
> off with 600 or 1200 if you can find it. If a small
> adjustment will fix the problem there is no need for
> anything more.

If you are tempted to go further, a little toothpaste on a soft cotton 
string would polish it. Then again, taking a cue from golf balls, a 
little 'texture' may help.

++Toothpaste works and also "Scratch Out" or any similar polishing
compound, assuming you need it.

And though this may seem obvious, when creating a channel  for the 
string be sure to have it point to where the string eventually takes up 
on the peg --especially on the chanterelle. I only mention this because 
some lutes have the chanterelle going outside the pegbox.

++Like on a couple of my instruments, Yes, the channel's axis should
be colinear with the string it holds, otherwise the string can catch on 
the edge.

Sean 



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Re: Early Type Specimens in the Plantin-Moretus Museum

[demery]

"AJN (boston)" <[EMAIL PROTECTED]> said:

> Dear Dana,
> 
> It's nice to see you back on line.  

thanks, happy to be back, if only thru the library as I am now.

> Oak Knoll Press 

is well known to me, I have been to their store, it is another place to 
visit if you are passing thru that area.

>  I don't know if this is the same type museum you were mentioning. The
> famous one is thge Plantin-Moretus Museum in Antwerp. There is also 
> a type
> museum at Oxford University Press.  

And one at the vatican I beleive.
 
> The museum in Antwerp also has some specimens of music type, 
> and perhaps
> this new book will show more.  I wonder how it departs from Vervliet's
> book, which you mentioned.  

I know Vervliet has writen about the Plantin museum.  From the 
anouncement this will be much more comprehensive.  Another entry on 
the 'wants' list, thanks for the heads up.

For good or ill, the original Plantin made a point of collecting all the 
early type he could find.  This did preserve it for some time; but...  
One of his decendants decided to 'reduce' the collection, discarding 
the 'damaged', 'incomplete', and 'deformed' type.  I strongly suspect 
the culled type included faces we are highly familiar with from the 
tablature editions of Le Roy and Ballard cut by Granjon who 'compressed' 
it vertically; however, it would have been an incomplete alphabet).

Thankfully todays curators have a litttle more sense.



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Re: Anne Boleyn's last song? "O Death, rock me asleepe"

[corun]

Charles wrote:

>Does anyone have a lute accompaniment to this song,ascribed to Anne 
>Boleyn? If so, I would be grateful for a copy thanks.

I've been looking for this as well. I know Ronn McFarlane did it with on 
his CD the English Lute Song, but I can't seem to find a copy of that 
either. If anyone who has the lute accompaniment could send it to me as 
well I'd be grateful.

Regards,
Craig




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Re: Rizzio ( was:Antwort: Re: S. de Murcia )

[Donatella Galletti]

Well, there is a very passionating reading about Mary Stuart , in fact it's
a biography written by a historian, Stefan Zweig, but it is written like a
novel. It says Rizzio was a violinist, lutenist, singer , composer and he
also wrote sonnets.He could speak Italian, French, Latin. He arrived in
Scotland with Marchese Moreta, the ambassador from Savoia, Piedmont, and
Mary asked to keep him there. He soon became private secretary to the Queen
and had some problems, let's say, being a Catholic among Protestant nobles.
The murder is described as in a film, the Queen was expecting of five
months, Darnley, her husband, in agreement with the conjurers, in front of
her denied knowing anything of the matter. They had accessed the private
apartments of the Queen to which just the Queen and the King had the key.
Rizzio was meant to be imprisoned and hanged , but as they were savagely
together they stabbed him  more then 50 times, then threw him from the
window. The Queen appeared to have forgiven Darnley ( "not forgotten", as
she said when the baby, the future James VI - I of England- was born), but
Darnley died in an explosion of a summer palace, just after the Queen had
had her precious bed removed...James  I is the one who wrote the famous
letter to Elizabeth in which he did not object executing his mother if he
had become king of England - I suppose he was son of Darnley..-
The story takes  three or four chapters of the book, a must, in my opinion,
for all lutenists..
I saw the room some time ago in Scotland, very interesting one.

Donatella


http://web.tiscali.it/awebd






- Original Message -
From: "Martin Shepherd" <[EMAIL PROTECTED]>
To: "Lute Net" 
Sent: Friday, May 13, 2005 2:06 PM
Subject: Re: Antwort: Re: S. de Murcia


> As for Rizzio:
>
> I happened to be in Edinburgh recently, and visited Holyrood House.
> There is a portrait of Rizzio there, which shows him holding a violin -
> just what we would expect for a famous lute player...
>
> The account of his murder by Mary's hsuband and his cronies also claims
> that he was stabbed 45 times, 56 times, (just think of a large number
> and you can make your own claim on the truth) that he was dragged
> outside and murdered, that his body lay where he fell (in an upstairs
> room, very close to where the portrait is hung nowadays), that he was
> playing the lute at the time, and so on.  If ever there was a case of
> muddle and wishful thinking, this is it.  I guess that no one really
> knows how many people were involved in the murder, or when and where and
> in what manner it happened.  But that doesn't stop people inventing all
> sorts of things...
>
> My guess is that Rizzio was a musician, principally a violinist.  Or is
> that not romantic enough?
>
> Scientifically yours,
>
> Martin
>
> [EMAIL PROTECTED] wrote:
>
> >
> >
> >
> >There would be many possible movies about lute-players and their
> >adventures.
> >What was about Rizzo who was said to have a close relationship to Mary?
> >Dowland as predesessor of James Bond? The life of the english Gaultier as
> >adventure? Are there some vihuelanista-stories to add? With a tiny bit of
> >fantasy I could make a fantastic script out of Corbetta's life (must be a
> >french movie because it wouldn't have a happy end) ...
> >
> >Best wishes
> >Thomas
> >
> >
> >
> >
> >
> >Lex Eisenhardt <[EMAIL PROTECTED]> am 13.05.2005 11:14:08
> >
> >An:Monica Hall <[EMAIL PROTECTED]>, vihuela
> >   
> >Kopie:
> >
> >Thema: Re: S. de Murcia
> >
> >It may be a good subject for a Milos Forman movie: 'Santiago'
> >
> >
> >
> >
> >>>So it goes.  His "biography" is pure fiction!
> >>>
> >>>And Salieri didn't murder Mozart either...
> >>>
> >>>Monica
> >>>
> >>>
> >
> >
> >
> >To get on or off this list see list information at
> >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> >
> >
> >
> >CONFIDENTIALITY : This  e-mail  and  any attachments are confidential and
> >may be privileged. If  you are not a named recipient, please notify the
> >sender immediately and do not disclose the contents to another person,
use
> >it for any purpose or store or copy the information in any medium.
> >
> >
> >
> >
> >
> >
> >
> >
>
>

Re: lute string?

[Carl Donsbach]

One other thing in addition to the other suggestions of smoothing and 
lubricating the grooves of the nut...

When tuning a string, I first loosen it just enough to break its friction 
against the nut, then bring it up to pitch, slowly but steadily so the nut 
doesn't grab it.

-Carl Donsbach


--On Thursday, May 12, 2005 6:37 PM -0700 Derek Monahan 
<[EMAIL PROTECTED]> wrote:

> I just bought a very cheap Renaissance lute. Tuning it
> is a real problem. For instance, a string will be just
> a little flat. I'll turn the peg with no response,
> then all of a sudden it jumps up a half-step (this is
> often accompanied by an ominous creaking sound). Is
> this just because it's a cheap lute? Any sugggestions?




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Anne Boleyn's last song? "O Death, rock me asleepe"

[Charles Browne]

Does anyone have a lute accompaniment to this song,ascribed to Anne Boleyn? If
so, I would be grateful for a copy
thanks
Charles Browne



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Lutenist to accompany singer at conference in Quebec City Novembe r 3-6 2005?

[Bennett Cohen]

Howdy lute list - 

I've been away for a while, and rejoin to ask if there are any lutenists in
or near Quebec City, Quebec who might be available to accompany a fabulous
singer in a program of Dowland lute songs for an academic conference from
November 3-6, 2005?

The singer, Kristine Hurst, has recently finished her doctorate at the
University of Colorado in Boulder (where I have acompanied her from time to
time) and is now teaching at the University of Wisconsin at Plattville.
She's fantastic, and can sing Dowland's lute songs with one vocal chord tied
behind her back.  Sadly, I can't schlep out to Quebec to accompany her for
this presentation at the College Music Society conference in early November.

Are there any lute players in or near Quebec City?

Thanks,

Ben Cohen
Denver, Colorado

--

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Re: Antwort: Re: lute string?

[Sean Smith]

>
> If using sand paper, I would not only fine grit,
> such as finer than 250, or even 400, finishing
> off with 600 or 1200 if you can find it. If a small
> adjustment will fix the problem there is no need for
> anything more.

If you are tempted to go further, a little toothpaste on a soft cotton 
string would polish it. Then again, taking a cue from golf balls, a 
little 'texture' may help.

And though this may seem obvious, when creating a channel  for the 
string be sure to have it point to where the string eventually takes up 
on the peg --especially on the chanterelle. I only mention this because 
some lutes have the chanterelle going outside the pegbox.

Sean 



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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Re: Antwort: Re: lute string?

[Dr. Marion Ceruti]

Hello Thomas,

Thank you for the vote of confidence.
It is always a pleasure to hear from you.
When adjusting a peg, I recomend to proceed
slowly and not try to make large, sudden changes.
If using sand paper, I would not only fine grit,
such as finer than 250, or even 400, finishing
off with 600 or 1200 if you can find it. If a small
adjustment will fix the problem there is no need for
anything more.

Best regards,
Marion
Mezzosoprano, musica del rinascimento

-Original Message-
From: [EMAIL PROTECTED]
Sent: May 12, 2005 11:59 PM
To: lute@cs.dartmouth.edu
Subject: Antwort: Re: lute string?






Hi all

I would second Marion's recommendation. In most cases a bit of graphit will
help.
Another problem could be the pegs itself: They should be round and move
smoothly. If they are not they will stick a bit in the pegbox and when
turned make a farer move than you want them to. In this case the pegs would
need to be adjusted (which is not a big deal - you could even do it
yourself if you should be bold enough).

Best wishes
Thomas





"Dr. Marion Ceruti" <[EMAIL PROTECTED]> am 13.05.2005 06:15:05

Bitte antworten an "Dr. Marion Ceruti" <[EMAIL PROTECTED]>

An:Derek Monahan <[EMAIL PROTECTED]>, lute@cs.dartmouth.edu
Kopie:

Thema: Re: lute string?


Dear Derek,

Don't you just hate that creaking sound? Welcome to the
wonderful world of non-linear peg tuning on pegbox lutes.
Your problem is not confined to cheap lutes. I have had
the same problem on both my cheap lute (which is actually
much better than the average lute for the price) and my
concert renaissance lute.

At least for now, the problem on my lutes appears to
be solved in the following manner. While the string is
still under tension, I mark with a pencil where it touches
the nut. Then I make the string sack and I put some on
graphite from the pencil on the string where it touches the
nut and also in the groove of the nut. I put the graphite on
about a 1cm.-long segment of the string and all around it
because the string moves when you tighten it and the place
where the string originally touches the nut can shift when the
tension is fully applied.

It may take a couple of tries to get enough graphite to stay
exactly where you need it - where the string touches the nut
- but you should notice quite a bit better linearity in your tuning.
At least I can say that this method has worked for me. If you
still have the same problems you may want to take a close
look at the grooves in the nut. They should be round and not 'v'
shaped. The string can get caught on the  nut at the 'v' and
graphite may not be enough to correct the problem. In this case,
you may need to file the grooves with a very small round file or
better yet, replace the nut.

Cheap lutes often have other problems with the nuts, such as
string spacings. If this is the case you may want to repalce the
nut anyway or at least reposition a few of the strings, as needed.

BTW, I **never** have had this problem on my swan-neck
baroque lute, only on the peg-box lutes with the angles
at the nut. If you get a baroque lute, I recommend the
swan-neck variety for this reason. I'm not sure why but I think
they look better too, for some reason. Maybe I have associated
their looks with not having so many tuning hassles with them.
(Beauty is in the eye and ear of the beholder.)

So tell me, Derek, what kind of lute music do you like? I like lute
songs, but only the clean ones.

Good luck to you and let us know how how you are doing from
time to time.

Best regards,
Marion
***MEZZOSOPRANO***

-Original Message-
From: Derek Monahan <[EMAIL PROTECTED]>
Sent: May 12, 2005 5:37 PM
To: lute@cs.dartmouth.edu
Subject: lute string?

I just bought a very cheap Renaissance lute. Tuning it
is a real problem. For instance, a string will be just
a little flat. I'll turn the peg with no response,
then all of a sudden it jumps up a half-step (this is
often accompanied by an ominous creaking sound). Is
this just because it's a cheap lute? Any sugggestions?

www.myspace.com/deflatormouse



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it for any purpose or store or copy the information in any medium.

Re: thanks! (sticky strings)

[Dr. Marion Ceruti]

Hello Miles,

I know what you mean about tugging the string to equalize the
tension. I have tried this and the pitch changes as a result of it
about 20-30% of the time. In any case when the tensions are
unequal in the two parts of the string it signifies an instability
that is likely to equalize in small increments when you are playing.
I prefer to keep a sufficient amount of lubrication on the strings
at the nut so the tension can equilibrate faster.

Thanks for posting.

Best regards,
Marion

"Il mandolino e' molto carino. Those who don't think so say, 
'What do we know? We're ten times dumber than a small bambino.' "

-Original Message-
From: Miles Dempster <[EMAIL PROTECTED]>
Sent: May 13, 2005 11:15 AM
To: Lute Net 
Subject: Re: thanks! (sticky strings)

Something that I haven't yet seen in this thread:

The string consists of 2 segments: a) between the peg and the nut, b) 
between the nut and the bridge.
When there is friction at the nut, it's possible to turn the peg 
slightly in either direction, changing the tension of the string 
between the peg and the nut, but without any effect on the tension of 
the string between the nut and the bridge. You can finely adjust the 
tuning by tugging the string with your fingers so as to ease it over 
the nut, and help in equalizing the tension on either side of the nut.


Miles Dempster

On Friday, May 13, 2005, at 12:45  PM, Dr. Marion Ceruti wrote:

> Hello Tim,
>
> Good ideas! One way to avoid many truns around the peg without
> cutting the string is to coil up the excess string at the back of the
> pegbox. I have seen this done with requinto strings also. It is
> better than cutting the strings because by leaving them long you
> can put them on other smaller instruments if they break. For example,
> I can use a ren lute first string on a mandolino because the pitch
> is an octave higher and the string length is exactly half (30 vs. 60 
> cm).
>
> Pegs tend to settle into particular positions where they like to be and
> it is hard sometimes to get them to go in between to get the right
> pitch. Twisting the peg back and forth tends to dislodge the peg out
> of these "catch positions." Also before tightening a string, put some 
> slack
> into it, twist it with the lower tension and then tighten it above the 
> pitch
> then finally let some out to ease into the right pitch. There are all
> different variations of this technique. Main thing is to turn your
> face away from the strings when you tighten them or wear goggles.
> Some people have had strings break and hit them in the face.
>
> Cheers,
> Marion
> safety first.
>
> -Original Message-
> From: timothy motz <[EMAIL PROTECTED]>
> Sent: May 13, 2005 5:08 AM
> To: [EMAIL PROTECTED], lute@cs.dartmouth.edu
> Subject: Re: thanks!
>
> Derek,
> I've used Ivory soap in the grooves on my nut.  Same idea as beeswax.
> Another reason for the non-linear tuning can be that you have excess
> string wound around the peg in an irregular pattern.  So that as you
> turn the peg, you (in effect) have a peg with a changing diameter,
> leading to changes in how much string is taken up by one turn.
>
> You would think that a nice even turn of the peg would get you to the
> right amount of tension and the right pitch, but sometimes just
> twisting the peg back and forth seems to get to the right point more
> quickly.  I've also found that if I tighten the peg to above the
> correct pitch and then take it back down, I get it in tune more
> smoothly.
>
> Tim
>>
>>
>>  Original Message 
>> From: [EMAIL PROTECTED]
>> To: lute@cs.dartmouth.edu
>> Subject: Re: thanks!
>> Date: Fri, 13 May 2005 00:14:22 -0700
>>
>>>
>>> Just before you try everything at once :^) I prefer beeswax to
>> graphite
>>> since it doesn't leave black marks on your nut. But definitely make
>>> sure your grooves are round (and a slightly greater radius than the
>>> string) first.
>>>
>>> Sean Smith
>>>
>>> On May 13, 2005, at 12:04 AM, Derek Monahan wrote:
>>>
 Thank to everyone who respnded to my inquiry! I am
 very grateful for your knowledge, and that this
 community exists. I now have a wealth of information
 (comparatively) about tuning issues. I will try everything.

 www.myspace.com/deflatormouse



 Yahoo! Mail
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>>>
>>>
>>>
>
>
>
>
>

Re: thanks! (sticky strings)

[Miles Dempster]

Something that I haven't yet seen in this thread:

The string consists of 2 segments: a) between the peg and the nut, b) 
between the nut and the bridge.
When there is friction at the nut, it's possible to turn the peg 
slightly in either direction, changing the tension of the string 
between the peg and the nut, but without any effect on the tension of 
the string between the nut and the bridge. You can finely adjust the 
tuning by tugging the string with your fingers so as to ease it over 
the nut, and help in equalizing the tension on either side of the nut.


Miles Dempster

On Friday, May 13, 2005, at 12:45  PM, Dr. Marion Ceruti wrote:

> Hello Tim,
>
> Good ideas! One way to avoid many truns around the peg without
> cutting the string is to coil up the excess string at the back of the
> pegbox. I have seen this done with requinto strings also. It is
> better than cutting the strings because by leaving them long you
> can put them on other smaller instruments if they break. For example,
> I can use a ren lute first string on a mandolino because the pitch
> is an octave higher and the string length is exactly half (30 vs. 60 
> cm).
>
> Pegs tend to settle into particular positions where they like to be and
> it is hard sometimes to get them to go in between to get the right
> pitch. Twisting the peg back and forth tends to dislodge the peg out
> of these "catch positions." Also before tightening a string, put some 
> slack
> into it, twist it with the lower tension and then tighten it above the 
> pitch
> then finally let some out to ease into the right pitch. There are all
> different variations of this technique. Main thing is to turn your
> face away from the strings when you tighten them or wear goggles.
> Some people have had strings break and hit them in the face.
>
> Cheers,
> Marion
> safety first.
>
> -Original Message-
> From: timothy motz <[EMAIL PROTECTED]>
> Sent: May 13, 2005 5:08 AM
> To: [EMAIL PROTECTED], lute@cs.dartmouth.edu
> Subject: Re: thanks!
>
> Derek,
> I've used Ivory soap in the grooves on my nut.  Same idea as beeswax.
> Another reason for the non-linear tuning can be that you have excess
> string wound around the peg in an irregular pattern.  So that as you
> turn the peg, you (in effect) have a peg with a changing diameter,
> leading to changes in how much string is taken up by one turn.
>
> You would think that a nice even turn of the peg would get you to the
> right amount of tension and the right pitch, but sometimes just
> twisting the peg back and forth seems to get to the right point more
> quickly.  I've also found that if I tighten the peg to above the
> correct pitch and then take it back down, I get it in tune more
> smoothly.
>
> Tim
>>
>>
>>  Original Message 
>> From: [EMAIL PROTECTED]
>> To: lute@cs.dartmouth.edu
>> Subject: Re: thanks!
>> Date: Fri, 13 May 2005 00:14:22 -0700
>>
>>>
>>> Just before you try everything at once :^) I prefer beeswax to
>> graphite
>>> since it doesn't leave black marks on your nut. But definitely make
>>> sure your grooves are round (and a slightly greater radius than the
>>> string) first.
>>>
>>> Sean Smith
>>>
>>> On May 13, 2005, at 12:04 AM, Derek Monahan wrote:
>>>
 Thank to everyone who respnded to my inquiry! I am
 very grateful for your knowledge, and that this
 community exists. I now have a wealth of information
 (comparatively) about tuning issues. I will try everything.

 www.myspace.com/deflatormouse



 Yahoo! Mail
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 http://tour.mail.yahoo.com/mailtour.html



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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

>>>
>>>
>>>
>
>
>
>
>

Re: Baroque guitar pegs

[lute9]

> Warm regards,
> Marion
> Mezzosoprano, mandolino, mandola, meraviglia
Mendicante merla..
RT



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Re: thanks!

[Dr. Marion Ceruti]

Hello Tim,

Good ideas! One way to avoid many truns around the peg without
cutting the string is to coil up the excess string at the back of the
pegbox. I have seen this done with requinto strings also. It is
better than cutting the strings because by leaving them long you
can put them on other smaller instruments if they break. For example,
I can use a ren lute first string on a mandolino because the pitch
is an octave higher and the string length is exactly half (30 vs. 60 cm).

Pegs tend to settle into particular positions where they like to be and
it is hard sometimes to get them to go in between to get the right
pitch. Twisting the peg back and forth tends to dislodge the peg out
of these "catch positions." Also before tightening a string, put some slack
into it, twist it with the lower tension and then tighten it above the pitch
then finally let some out to ease into the right pitch. There are all
different variations of this technique. Main thing is to turn your
face away from the strings when you tighten them or wear goggles.
Some people have had strings break and hit them in the face.

Cheers,
Marion
safety first.

-Original Message-
From: timothy motz <[EMAIL PROTECTED]>
Sent: May 13, 2005 5:08 AM
To: [EMAIL PROTECTED], lute@cs.dartmouth.edu
Subject: Re: thanks!

Derek,
I've used Ivory soap in the grooves on my nut.  Same idea as beeswax.
Another reason for the non-linear tuning can be that you have excess
string wound around the peg in an irregular pattern.  So that as you
turn the peg, you (in effect) have a peg with a changing diameter,
leading to changes in how much string is taken up by one turn.

You would think that a nice even turn of the peg would get you to the
right amount of tension and the right pitch, but sometimes just
twisting the peg back and forth seems to get to the right point more
quickly.  I've also found that if I tighten the peg to above the
correct pitch and then take it back down, I get it in tune more
smoothly.

Tim
>
>
> Original Message 
>From: [EMAIL PROTECTED]
>To: lute@cs.dartmouth.edu
>Subject: Re: thanks!
>Date: Fri, 13 May 2005 00:14:22 -0700
>
>>
>>Just before you try everything at once :^) I prefer beeswax to
>graphite 
>>since it doesn't leave black marks on your nut. But definitely make 
>>sure your grooves are round (and a slightly greater radius than the 
>>string) first.
>>
>>Sean Smith
>>
>>On May 13, 2005, at 12:04 AM, Derek Monahan wrote:
>>
>>> Thank to everyone who respnded to my inquiry! I am
>>> very grateful for your knowledge, and that this
>>> community exists. I now have a wealth of information
>>> (comparatively) about tuning issues. I will try everything.
>>>
>>> www.myspace.com/deflatormouse
>>>
>>>
>>> 
>>> Yahoo! Mail
>>> Stay connected, organized, and protected. Take the tour:
>>> http://tour.mail.yahoo.com/mailtour.html
>>>
>>>
>>>
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>
>>
>>
>>

Re: thanks!

[Dr. Marion Ceruti]

Hi Sean,

Thanks for the tip. Will try it the beeswax next time I have
a the problem although my lutes seem ok now. Have you
ever tried parafin? 

Best,
Marion
"Get all the facts then wax your tracks."

-Original Message-
From: Sean Smith <[EMAIL PROTECTED]>
Sent: May 12, 2005 11:14 PM
To: Lutelist 
Subject: Re: thanks!


Just before you try everything at once :^) I prefer beeswax to graphite 
since it doesn't leave black marks on your nut. But definitely make 
sure your grooves are round (and a slightly greater radius than the 
string) first.

Sean Smith

On May 13, 2005, at 12:04 AM, Derek Monahan wrote:

> Thank to everyone who respnded to my inquiry! I am
> very grateful for your knowledge, and that this
> community exists. I now have a wealth of information
> (comparatively) about tuning issues. I will try everything.
>
> www.myspace.com/deflatormouse
>
>
>   
> Yahoo! Mail
> Stay connected, organized, and protected. Take the tour:
> http://tour.mail.yahoo.com/mailtour.html
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

Re: Baroque guitar pegs

[Dr. Marion Ceruti]

Hi Eugene,

Thank you for posting this. I may need to get some pegs so this
information helps me as well.

Warm regards,
Marion
Mezzosoprano, mandolino, mandola, meraviglia

-Original Message-
From: "Eugene C. Braig IV" <[EMAIL PROTECTED]>
Sent: May 13, 2005 7:00 AM
To: lute net 
Subject: Re: Baroque guitar pegs

At 09:16 PM 5/12/2005, [EMAIL PROTECTED] wrote:
>Andy wrote:
> >Can anyone tell me where I can order a pre-made rose  parchment and
> >pegs for a Baroque guitar which I am building. This will be my be my
> >second one, and since I was happy with the pegs I made I thought I'd
> >but them this time
>
>You should be able to get pegs from any luthier who makes Baroque guitars.
>For the rose try Elena Dal Cortivo.
>
>http://www.parchmentroses.com/


Elena's work is great.  Unfortunately, it can be a little harder than 
implied to convince luthiers to part with pegs unless those pegs are 
surrounded by the peg head of one of their own instruments.  A rare poster 
to the lute list, Mr. Chad Neil, does excellent pegs for hire.  You might 
want to endeavor to call him out there.  Another source for instrumentless 
pegs is Bruce Brook: .

Best,
Eugene 



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Re: Baroque guitar pegs

[Eugene C. Braig IV]

At 09:16 PM 5/12/2005, [EMAIL PROTECTED] wrote:
>Andy wrote:
> >Can anyone tell me where I can order a pre-made rose  parchment and
> >pegs for a Baroque guitar which I am building. This will be my be my
> >second one, and since I was happy with the pegs I made I thought I'd
> >but them this time
>
>You should be able to get pegs from any luthier who makes Baroque guitars.
>For the rose try Elena Dal Cortivo.
>
>http://www.parchmentroses.com/


Elena's work is great.  Unfortunately, it can be a little harder than 
implied to convince luthiers to part with pegs unless those pegs are 
surrounded by the peg head of one of their own instruments.  A rare poster 
to the lute list, Mr. Chad Neil, does excellent pegs for hire.  You might 
want to endeavor to call him out there.  Another source for instrumentless 
pegs is Bruce Brook: .

Best,
Eugene 



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Early Type Specimens in the Plantin-Moretus Museum

[AJN (boston)]

Dear Dana,

It's nice to see you back on line.  This message from Oak Knoll Press may
be of interest to you and others on the List. That publisher specializes in
works about book manufacture and bibliography.

 I don't know if this is the same type museum you were mentioning. The
famous one is thge Plantin-Moretus Museum in Antwerp. There is also a type
museum at Oxford University Press.  I've seen a short film that the Plantin
museum produced showing how type was made in the 16th century.  That museum
will be a "must see" whenever I get back to Antwerp.

The museum in Antwerp also has some specimens of music type, and perhaps
this new book will show more.  I wonder how it departs from Vervliet's
book, which you mentioned.  

Arthur.
-- Forwarded Message --

From:   INTERNET:[EMAIL PROTECTED], INTERNET:[EMAIL PROTECTED]
TO: AJN (boston), 71162,751
DATE:   5/12/05 5:54 PM

RE: Early Type Specimens in the Plantin-Moretus Museum

Dear Mr Ness,

Early Type Specimens in the Plantin-Moretus Museum is now available at Oak
Knoll! 

This first edition work features one of the world's richest collections in
type specimens, many surviving nowhere else. They include types by
Garamond, Granjon, Van den Keere, Briot, Van Dyck, Kis, Fournier, Rosart,
Gille, Didot and many other masters from the fifteenth to the nineteenth
century. Since the Plantin-Moretus printing office acquired most of the
type specimens when new, moreover, the collection as a whole tells a story
in a way that collections assembled piecemeal in the nineteenth and
twentieth centuries cannot. Finally, the Museum's extraordinary archives
help to document the origins of many specimens.
 This first detailed catalogue of the Museum's specimens reports the
styles and sizes of type shown, describes the structures and paper stocks,
notes relations with other specimens in the collection and elsewhere, and
provides references to literature on many of the individual types shown.
 Preliminary notes on the type founders and printers who issued the
specimens include chronologies of the foundries and information on the
origins of their materials, sometimes supplemented with information about
the history of the firms and the genealogy of the founders. Nearly all of
the nineteen specimens illustrated at their original size appear here for
the first time, and extensive indexes make this book a powerful reference
tool for type specimen enthusiasts and printing historians. Contains 15
illustrations and 4 rare facsimile specimen sheets inserted in the inside
back cover. Co-published with The British Library. 

Check out Early Type Specimens in the Plantin-Moretus Museum at the
following link:


We also have many more titles with similar subjects. Check out the
following online catalogue to view our titles on Early Type Specimens.

  

We hope you find something of interest.

Best wishes,
Your Oak Knollers


-- -- -- -- -- -- -- -- -- -- -- --
Oak Knoll Books
310 Delaware Street New Castle DE 19720
P: 302.328.7232 - F: 302.328.7274 - E: [EMAIL PROTECTED] - W:
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This is a commercial email message. If you do not want to receive any more
email from this site, please send an email message to <[EMAIL PROTECTED]>
and your name will be removed from the list.
 

== End Part 2 ===



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Re: thanks!

[timothy motz]

Derek,
I've used Ivory soap in the grooves on my nut.  Same idea as beeswax.
Another reason for the non-linear tuning can be that you have excess
string wound around the peg in an irregular pattern.  So that as you
turn the peg, you (in effect) have a peg with a changing diameter,
leading to changes in how much string is taken up by one turn.

You would think that a nice even turn of the peg would get you to the
right amount of tension and the right pitch, but sometimes just
twisting the peg back and forth seems to get to the right point more
quickly.  I've also found that if I tighten the peg to above the
correct pitch and then take it back down, I get it in tune more
smoothly.

Tim
>
>
> Original Message 
>From: [EMAIL PROTECTED]
>To: lute@cs.dartmouth.edu
>Subject: Re: thanks!
>Date: Fri, 13 May 2005 00:14:22 -0700
>
>>
>>Just before you try everything at once :^) I prefer beeswax to
>graphite 
>>since it doesn't leave black marks on your nut. But definitely make 
>>sure your grooves are round (and a slightly greater radius than the 
>>string) first.
>>
>>Sean Smith
>>
>>On May 13, 2005, at 12:04 AM, Derek Monahan wrote:
>>
>>> Thank to everyone who respnded to my inquiry! I am
>>> very grateful for your knowledge, and that this
>>> community exists. I now have a wealth of information
>>> (comparatively) about tuning issues. I will try everything.
>>>
>>> www.myspace.com/deflatormouse
>>>
>>>
>>> 
>>> Yahoo! Mail
>>> Stay connected, organized, and protected. Take the tour:
>>> http://tour.mail.yahoo.com/mailtour.html
>>>
>>>
>>>
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>
>>
>>
>>

Re: Antwort: Re: S. de Murcia

[Martin Shepherd]

As for Rizzio:

I happened to be in Edinburgh recently, and visited Holyrood House.  
There is a portrait of Rizzio there, which shows him holding a violin - 
just what we would expect for a famous lute player...

The account of his murder by Mary's hsuband and his cronies also claims 
that he was stabbed 45 times, 56 times, (just think of a large number 
and you can make your own claim on the truth) that he was dragged 
outside and murdered, that his body lay where he fell (in an upstairs 
room, very close to where the portrait is hung nowadays), that he was 
playing the lute at the time, and so on.  If ever there was a case of 
muddle and wishful thinking, this is it.  I guess that no one really 
knows how many people were involved in the murder, or when and where and 
in what manner it happened.  But that doesn't stop people inventing all 
sorts of things...

My guess is that Rizzio was a musician, principally a violinist.  Or is 
that not romantic enough?

Scientifically yours,

Martin

[EMAIL PROTECTED] wrote:

>
>
>
>There would be many possible movies about lute-players and their
>adventures.
>What was about Rizzo who was said to have a close relationship to Mary?
>Dowland as predesessor of James Bond? The life of the english Gaultier as
>adventure? Are there some vihuelanista-stories to add? With a tiny bit of
>fantasy I could make a fantastic script out of Corbetta's life (must be a
>french movie because it wouldn't have a happy end) ...
>
>Best wishes
>Thomas
>
>
>
>
>
>Lex Eisenhardt <[EMAIL PROTECTED]> am 13.05.2005 11:14:08
>
>An:Monica Hall <[EMAIL PROTECTED]>, vihuela
>   
>Kopie:
>
>Thema: Re: S. de Murcia
>
>It may be a good subject for a Milos Forman movie: 'Santiago'
>
>
>  
>
>>>So it goes.  His "biography" is pure fiction!
>>>
>>>And Salieri didn't murder Mozart either...
>>>
>>>Monica
>>>  
>>>
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
>
>CONFIDENTIALITY : This  e-mail  and  any attachments are confidential and
>may be privileged. If  you are not a named recipient, please notify the
>sender immediately and do not disclose the contents to another person, use
>it for any purpose or store or copy the information in any medium.
>
>
>
>
>
>
>  
>

[Fwd: Re: Amy Souffres]

[maggie1]

 Original Message 
Stewart, you are amazing. Thank you.

Gary


Dear Gary,
>
> I answered a similar question from Tuomas Rauramaa on 28th February
2000, with the subject "Help needed". I've copied my reply below.
>
> Best wishes,
>
> Stewart McCoy.
>
>
> Dear Tuomas,
>
> Pierre Moulu's Amy souffrez turns up all over the place, including Lbl
Add 31922 (the so-called Henry VIII manuscript). The song can be found
as No. 85 in the modern edition of this manuscript, i.e. Music at the
Court of Henry VIII, ed. John Stevens, Musica Britannica
> XVIII (London: Stainer and Bell for the Royal Musical Association, 1961;
2nd revised edn 1973). John Stevens gives the following
> sources: Attaingnant, 42 ... Chansons, 1529, fol.6v; Rhau, Tricinia,
1542, no.80; and Montanus et Neuber, Selectissima Tricinia, 1559, no.41.
He also mentions a modern edition of an anonymous 4-part
> setting in W. Brennecke (ed.), Carmina Germanica et Gallica, Hortus
Musicus, nos. 137-8 (1957), song no.26. H. M. Brown lists references to
a total of eleven printed sources in the index of his
> Instrumental Music Printed before 1600, including a keyboard setting
published by Attaingnant in 1531.
>
> Actually the easiest way of getting hold of the words is to send off for
the London Pro Musica edition: Bernard Thomas (ed.), thirty
> chansons 1529, The Parisian Chanson, vol. 10 (London: London Pro Musica,
1977), LPM PC10. There is an Appendix available separately, Bernard
Thomas (ed.), six chansons for voice and lute 1529, which is LPM PC10a.
The former gives the 3-part chanson; the latter gives the arrangement
for voice and lute. I believe there is a Minkoff
> facsimile edition of Attaingnant's Tres breve et familiere
> introduction (1529), which would include the lute song and the lute solo
setting, but I don't have exact details of that.
>
> Best wishes,
>
> Stewart McCoy.
>
> - Original Message -
> From: Tuomas Rauramaa
> To: lute@cs.dartmouth.edu
> Sent: Sunday, February 27, 2000 10:30
>>Subject: Help needed!
>
> Dear lutenists,
> I am currently playing the cancion Ami sufle (Amy souffrez) by
> Enriquez de
> Valderrabano.Does it have lyrics?And if so, where can I find them?
Thanks in advance,
> Tuomas Rauramaa
> Helsinki, Finland
>
> - Original Message -
> From: "gary digman" <[EMAIL PROTECTED]>
> To: "lutelist" 
> Sent: Wednesday, May 11, 2005 11:46 AM
> Subject: Amy Souffres
>
>
>> Dear Fellow Luters;
>>
>>  Does anyone have, or know where I could find, the complete
> lyrics to Pierre Moulu's "Amy Souffres" which was intabulated for solo
lute in Phalese and Attaingnant? An English translation of same would be
an added bonus. Thank you.
>>
>>   All the Best,
>>   Gary Digman
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>

RE: gee, it's cold in here ...

[maggie1]

A vihuela with a thyroid problem!


 Heavens to Betsy!
>
> Don't tell me that Mingus was really playing a vihuela all those years...
>>:)
>
>> -Original Message-
>> From: Alexander Batov [mailto:[EMAIL PROTECTED]
>> Sent: Thursday, May 12, 2005 11:15 AM
>> To: vihuela@cs.dartmouth.edu
>> Subject: Re: gee, it's cold in here ...
>>
>>
>> - Original Message -
>> From: "Garry Bryan" <[EMAIL PROTECTED]>
>> To: 
>> Sent: Thursday, May 12, 2005 3:47 PM
>> Subject: RE: gee, it's cold in here ...
>>
>>
>> > Ha!!
>> >
>> >
>> > Everyone knows that the only manly men were the 16th century
>> vihuelistas!
>> > If you don't believe me, just observe the enormous scale length(76-80?
>> Cm)
>> on
>> > the Jacquemart vihuela! These were men who were larger than life...or
>> at
>> least
>> > larger than the average professional basketball player. >:)
>> ---
>> Or it could be just the opposite if it was played / held upright (in a
>> double bass sort of way)
>> as some old pics seem to show <;(
>>
>>
>>
>>
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>

Re: thanks!

[Sean Smith]

Just before you try everything at once :^) I prefer beeswax to graphite 
since it doesn't leave black marks on your nut. But definitely make 
sure your grooves are round (and a slightly greater radius than the 
string) first.

Sean Smith

On May 13, 2005, at 12:04 AM, Derek Monahan wrote:

> Thank to everyone who respnded to my inquiry! I am
> very grateful for your knowledge, and that this
> community exists. I now have a wealth of information
> (comparatively) about tuning issues. I will try everything.
>
> www.myspace.com/deflatormouse
>
>
>   
> Yahoo! Mail
> Stay connected, organized, and protected. Take the tour:
> http://tour.mail.yahoo.com/mailtour.html
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

thanks!

[Derek Monahan]

Thank to everyone who respnded to my inquiry! I am
very grateful for your knowledge, and that this
community exists. I now have a wealth of information
(comparatively) about tuning issues. I will try everything.

www.myspace.com/deflatormouse



Yahoo! Mail
Stay connected, organized, and protected. Take the tour:
http://tour.mail.yahoo.com/mailtour.html



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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Antwort: Re: lute string?

[thomas . schall]

Hi all

I would second Marion's recommendation. In most cases a bit of graphit will
help.
Another problem could be the pegs itself: They should be round and move
smoothly. If they are not they will stick a bit in the pegbox and when
turned make a farer move than you want them to. In this case the pegs would
need to be adjusted (which is not a big deal - you could even do it
yourself if you should be bold enough).

Best wishes
Thomas





"Dr. Marion Ceruti" <[EMAIL PROTECTED]> am 13.05.2005 06:15:05

Bitte antworten an "Dr. Marion Ceruti" <[EMAIL PROTECTED]>

An:Derek Monahan <[EMAIL PROTECTED]>, lute@cs.dartmouth.edu
Kopie:

Thema: Re: lute string?


Dear Derek,

Don't you just hate that creaking sound? Welcome to the
wonderful world of non-linear peg tuning on pegbox lutes.
Your problem is not confined to cheap lutes. I have had
the same problem on both my cheap lute (which is actually
much better than the average lute for the price) and my
concert renaissance lute.

At least for now, the problem on my lutes appears to
be solved in the following manner. While the string is
still under tension, I mark with a pencil where it touches
the nut. Then I make the string sack and I put some on
graphite from the pencil on the string where it touches the
nut and also in the groove of the nut. I put the graphite on
about a 1cm.-long segment of the string and all around it
because the string moves when you tighten it and the place
where the string originally touches the nut can shift when the
tension is fully applied.

It may take a couple of tries to get enough graphite to stay
exactly where you need it - where the string touches the nut
- but you should notice quite a bit better linearity in your tuning.
At least I can say that this method has worked for me. If you
still have the same problems you may want to take a close
look at the grooves in the nut. They should be round and not 'v'
shaped. The string can get caught on the  nut at the 'v' and
graphite may not be enough to correct the problem. In this case,
you may need to file the grooves with a very small round file or
better yet, replace the nut.

Cheap lutes often have other problems with the nuts, such as
string spacings. If this is the case you may want to repalce the
nut anyway or at least reposition a few of the strings, as needed.

BTW, I **never** have had this problem on my swan-neck
baroque lute, only on the peg-box lutes with the angles
at the nut. If you get a baroque lute, I recommend the
swan-neck variety for this reason. I'm not sure why but I think
they look better too, for some reason. Maybe I have associated
their looks with not having so many tuning hassles with them.
(Beauty is in the eye and ear of the beholder.)

So tell me, Derek, what kind of lute music do you like? I like lute
songs, but only the clean ones.

Good luck to you and let us know how how you are doing from
time to time.

Best regards,
Marion
***MEZZOSOPRANO***

-Original Message-
From: Derek Monahan <[EMAIL PROTECTED]>
Sent: May 12, 2005 5:37 PM
To: lute@cs.dartmouth.edu
Subject: lute string?

I just bought a very cheap Renaissance lute. Tuning it
is a real problem. For instance, a string will be just
a little flat. I'll turn the peg with no response,
then all of a sudden it jumps up a half-step (this is
often accompanied by an ominous creaking sound). Is
this just because it's a cheap lute? Any sugggestions?

www.myspace.com/deflatormouse



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