[LUTE] Re: G.A. Brescianello 1690-1757 download
Dear Arthur, I don't think I'm necessarily the "source" for associating the Vivaldi works with the mandora, but I did write an article for the LSA Quarterly exploring the possibility, and I found nothing to disqualify the mandora in particular. I've sent you a private note summarizing the article as its been discussed here before. As I've pointed out before, the mandora/gallichone in D is just functionally an archlute in G without its top course... so many aspects are similar. In spite of my personal attraction to mandolinos and other smaller lutes, I for one do not endorse the idea of playing Vivaldi's early leuto parts (RV82, RV85, and RV93) at written pitch. The scores make much more musical sense (IMHO) with the leuto part sounding an octave lower... what ever the choice of instrument. Vivaldi's notes for RV540 are clear that he's talking about an instrument in the lower registers. Though he notates the solo parts in the treble clef, he instructs the soloist to play along with the basso otherwise. Best, Eric ps - Sorry I missed you all at LSA/Cleveland. A sad summer for me... with too much work to do and not nearly enough luting... On Jul 11, 2006, at 3:10 PM, Arthur Ness wrote: > Dear Martyn, > > I looked through it paying attention to the slurs. And > will stay with the archlute designation since the open > strings seem to be like d-minor tuning.. But I am > wondering about the Vivaldi concertos written for > Prague. Does any one have information about the source > for the suggestion that_*these*_ concertos were for > mandora, although deignated for lute? This evening I'm > going totake another look at the Vivaldi works. Or is > that the > older thinking of some little lute instrument that has > now given way to designation for the usual instrument > sounding an octave lower. > > I'm going to spend some time with the two concertinos > from the Harrach collection. > --ajn. > ===> - Original Message - > From: "Martyn Hodgson" <[EMAIL PROTECTED]> > To: "Arthur Ness" <[EMAIL PROTECTED]>; "Lute Net" > > Sent: Tuesday, July 11, 2006 12:43 PM > Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > > >> >> Why do you think this 'Sinfonia' was written for >> Gallichon/Mandora? As mentioned earlier, like Bob, I >> see no reason to doubt the title which clearly states >> 'arciliuto'. It also does not fit particularly well >> in the D Gallichon tuning (and much worse of course in >> the E tuning) - but fits very well on an arciliuto in >> G. >> >> MH >> >> Arthur Ness <[EMAIL PROTECTED]> wrote: >> >> "Arthur Ness" wrote in message news:... >>> In regard to our Brecianello discussion, I have >>> posted >>> the remaining two movements for the Sinfonia. >>> >>> http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ >>> >>> ==> I have posted two >>> movements from the anonymous sinfonia. >>> It seems to be a six course instrument with three >>> diapasons, tuned to >>> low C (2 ledger lines, used very rarely), D and E; >>> the continuo instruments seems not to have the low >>> C.)). >>> >>> Since the lute part is mainly one line with the bass >>> notes >>> played by the continuo, it could be played by violin >>> or >>> flute with lute playing the continuo part. >>> >>> Any thoughts? The suggestion from Mark and Stephan >>> about >>> the awkward bass lines in the Brescianello sonatas >>> brought this piece to mind. The [mandora? lute?] >>> doubles the >>> bass line, but only in a desultory manner. >>> >>> Oh, where are they? Also a link to William Lawes, >>> too. >>> Fantasia from The Harp Consort No. 12. >>> >>> http://mysite.verizon.net/vzepq31c/arthurjnesslutescores >>> >>> That should do it. --AJN. >>> - Original Message - >>> From: "Arthur Ness" >>> To: "Lute Net" >>> Sent: Wednesday, June 14, 2006 11:35 AM >>> Subject: [LUTE] Re: G.A. Brescianello 1690-1757 >>> download >>> >>> "Arthur Ness" wrote in message news:[EMAIL PROTECTED] <> > That's an interesting observation that the > Brescianello pieces are for > 8-course gallichon. Also the pieces are simply > titled "Gallichone solo" > and > that designation does not necessary exclude a bass > instrument like a gamba > or 'cello. What kind of mandora do you have? (If > you > have one.) > > Arthur. --- --- I was thinking about those "three anonymous" concertos that were mentioned here recently. Actually, there are two chamber concertinos and a piece titled "Sinfonia a\ Solo di Arciliuto." These are works that Robert Spencer purchased at the 1956 sale of manuscripts from the Graf Harrach Collection in Vienna and Rohrau (Haydn's mother worked in the Count's kitchen!!). They probably were copied in Bohemia. Incidentally one of >>
[LUTE] Re: G.A. Brescianello 1690-1757 download
Dear Martyn, I looked through it paying attention to the slurs. And will stay with the archlute designation since the open strings seem to be like d-minor tuning.. But I am wondering about the Vivaldi concertos written for Prague. Does any one have information about the source for the suggestion that_*these*_ concertos were for mandora, although deignated for lute? This evening I'm going totake another look at the Vivaldi works. Or is that the older thinking of some little lute instrument that has now given way to designation for the usual instrument sounding an octave lower. I'm going to spend some time with the two concertinos from the Harrach collection. --ajn. - Original Message - From: "Martyn Hodgson" <[EMAIL PROTECTED]> To: "Arthur Ness" <[EMAIL PROTECTED]>; "Lute Net" Sent: Tuesday, July 11, 2006 12:43 PM Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > > Why do you think this 'Sinfonia' was written for > Gallichon/Mandora? As mentioned earlier, like Bob, I > see no reason to doubt the title which clearly states > 'arciliuto'. It also does not fit particularly well > in the D Gallichon tuning (and much worse of course in > the E tuning) - but fits very well on an arciliuto in > G. > > MH > > Arthur Ness <[EMAIL PROTECTED]> wrote: > > "Arthur Ness" wrote in message news:... >> In regard to our Brecianello discussion, I have >> posted >> the remaining two movements for the Sinfonia. >> >> http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ >> >> ==> I have posted two >> movements from the anonymous sinfonia. >> It seems to be a six course instrument with three >> diapasons, tuned to >> low C (2 ledger lines, used very rarely), D and E; >> the continuo instruments seems not to have the low >> C.)). >> >> Since the lute part is mainly one line with the bass >> notes >> played by the continuo, it could be played by violin >> or >> flute with lute playing the continuo part. >> >> Any thoughts? The suggestion from Mark and Stephan >> about >> the awkward bass lines in the Brescianello sonatas >> brought this piece to mind. The [mandora? lute?] >> doubles the >> bass line, but only in a desultory manner. >> >> Oh, where are they? Also a link to William Lawes, >> too. >> Fantasia from The Harp Consort No. 12. >> >> http://mysite.verizon.net/vzepq31c/arthurjnesslutescores >> >> That should do it. --AJN. >> - Original Message - >> From: "Arthur Ness" >> To: "Lute Net" >> Sent: Wednesday, June 14, 2006 11:35 AM >> Subject: [LUTE] Re: G.A. Brescianello 1690-1757 >> download >> >> >>> "Arthur Ness" wrote in >>> message >>> news:[EMAIL PROTECTED] >>> <> >>> That's an interesting observation that the Brescianello pieces are for 8-course gallichon. Also the pieces are simply titled "Gallichone solo" and that designation does not necessary exclude a bass instrument like a gamba or 'cello. What kind of mandora do you have? (If you have one.) Arthur. >>> -- >>> I was thinking about those "three anonymous" >>> concertos >>> that were mentioned >>> here recently. Actually, there are two chamber >>> concertinos and a piece >>> titled "Sinfonia a\ Solo di Arciliuto." These are >>> works that Robert Spencer >>> purchased at the 1956 sale of manuscripts from the >>> Graf Harrach Collection >>> in Vienna and Rohrau (Haydn's mother worked in the >>> Count's kitchen!!). >>> They >>> probably were copied in Bohemia. Incidentally one of >>> the >>> continuo parts in one of the concertinos is for >>> "Organo,"and that is a >>> possibility that should be seriously considered >>> when, >>> say a Vivaldi >>> concerto, is performed on lute(s) or guitar(s). Why >>> have a plucked >>> instrument competing with a plucked instrument >>> (harpsichord). >>> >>> Getting back to the ":Solo." the lute part is >>> notated >>> in the treble clef, >>> sounding an octave lower than written, and includes >>> all of the necessary >>> bass notes. But along with the lute part, is a >>> continuo part in the bass >>> clef with figures for a second instrument (2nd >>> lute?, >>> harpsichord? organ?), >>> which might be doubled by a thrid instrument, a >>> 'cello >>> or gamba. So >>> Stephen's suggestion reminded me that another >>> possibility may be that there >>> may be a lost continuo part for the Brescianello >>> pieces. >> >> >> >> >> > > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > - > Try the all-new Yahoo! Mail . "The New Version is > radically easier to use" - The Wall Street Journal > -- >
[LUTE] bottegari
just received from forni in italy taco Gentile Cliente / Dear Client, Ho il piacere di informarLa che da pochi giorni è uscita la ristampa sotto riportata. Nel caso fosse interessato non esiti a contattarmi. Cordiali saluti. I am pleased to inform you that the following works, peridicals, have been printed out just few days ago. Please do not hesitate to contact me if you are interested in the title. My best regards. --- Bottegari Cosimo, Il libro di canto e liuto (Riproduzione del manoscritto conservato nella Biblioteca Estense di Modena). (BMB,IV,98) A cura di Dinko Fabris e John Griffiths. In-4 gr., pp. 200, br. [88-271-2994-4] Eu.57,00 [https://www.fornieditore.com/flex/FixedPages/IT/ShowOpera.php/L/IT/SKU/2994%204] Per la prima volta in facsimile uno dei più importanti manoscritti per la storia del liuto e una testimonianza precoce della monodia fiorentina e in generale panitaliana dell'ultimo quarto del '500. Sono riportate composizioni per liuto e 127 composizioni per voce e liuto in notazione mensurale e intavolatura del Bottegari (1554-1620) e di Lasso, Rore, Striggio, Palestrina, Dentice, Vecchi, Primavera, Conversi, Nola, Malvezzi, Ippolito Tromboncino. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: G.A. Brescianello 1690-1757 download
Why do you think this 'Sinfonia' was written for Gallichon/Mandora? As mentioned earlier, like Bob, I see no reason to doubt the title which clearly states 'arciliuto'. It also does not fit particularly well in the D Gallichon tuning (and much worse of course in the E tuning) - but fits very well on an arciliuto in G. MH Arthur Ness <[EMAIL PROTECTED]> wrote: "Arthur Ness" wrote in message news:... > In regard to our Brecianello discussion, I have posted > the remaining two movements for the Sinfonia. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ > > ==> I have posted two movements from the > anonymous sinfonia. > It seems to be a six course instrument with three > diapasons, tuned to > low C (2 ledger lines, used very rarely), D and E; > the continuo instruments seems not to have the low C.)). > > Since the lute part is mainly one line with the bass notes > played by the continuo, it could be played by violin or > flute with lute playing the continuo part. > > Any thoughts? The suggestion from Mark and Stephan about > the awkward bass lines in the Brescianello sonatas > brought this piece to mind. The [mandora? lute?] doubles the > bass line, but only in a desultory manner. > > Oh, where are they? Also a link to William Lawes, too. > Fantasia from The Harp Consort No. 12. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores > > That should do it. --AJN. > - Original Message - > From: "Arthur Ness" > To: "Lute Net" > Sent: Wednesday, June 14, 2006 11:35 AM > Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > > >> "Arthur Ness" wrote in >> message >> news:[EMAIL PROTECTED] >> <> >> >>> That's an interesting observation that the >>> Brescianello pieces are for >>> 8-course gallichon. Also the pieces are simply >>> titled "Gallichone solo" >>> and >>> that designation does not necessary exclude a bass >>> instrument like a gamba >>> or 'cello. What kind of mandora do you have? (If you >>> have one.) >>> >>> Arthur. >> -- >> I was thinking about those "three anonymous" concertos >> that were mentioned >> here recently. Actually, there are two chamber >> concertinos and a piece >> titled "Sinfonia a\ Solo di Arciliuto." These are >> works that Robert Spencer >> purchased at the 1956 sale of manuscripts from the >> Graf Harrach Collection >> in Vienna and Rohrau (Haydn's mother worked in the >> Count's kitchen!!). >> They >> probably were copied in Bohemia. Incidentally one of >> the >> continuo parts in one of the concertinos is for >> "Organo,"and that is a >> possibility that should be seriously considered when, >> say a Vivaldi >> concerto, is performed on lute(s) or guitar(s). Why >> have a plucked >> instrument competing with a plucked instrument >> (harpsichord). >> >> Getting back to the ":Solo." the lute part is notated >> in the treble clef, >> sounding an octave lower than written, and includes >> all of the necessary >> bass notes. But along with the lute part, is a >> continuo part in the bass >> clef with figures for a second instrument (2nd lute?, >> harpsichord? organ?), >> which might be doubled by a thrid instrument, a 'cello >> or gamba. So >> Stephen's suggestion reminded me that another >> possibility may be that there >> may be a lost continuo part for the Brescianello >> pieces. > > > > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - Try the all-new Yahoo! Mail . "The New Version is radically easier to use" The Wall Street Journal --
[LUTE] Re: G.A. Brescianello 1690-1757 download
Hello, A suggestion about the format: It is possible to put music in pdf? The screen graphical format has very low resolution to print. Thanks. Best wishes, Jose Luis El 11/07/2006, a las 16:02, Arthur Ness escribi=F3: > In regard to our Brecianello discussion, I have posted > the remaining two movements for the Sinfonia. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ > > ==> I have posted two movements from the > anonymous sinfonia. > It seems to be a six course instrument with three > diapasons, tuned to > low C (2 ledger lines, used very rarely), D and E; > the continuo instruments seems not to have the low C.)). > > Since the lute part is mainly one line with the bass notes > played by the continuo, it could be played by violin or > flute with lute playing the continuo part. > > Any thoughts? The suggestion from Mark and Stephan about > the awkward bass lines in the Brescianello sonatas > brought this piece to mind. The [mandora? lute?] doubles the > bass line, but only in a desultory manner. > > Oh, where are they? Also a link to William Lawes, too. > Fantasia from The Harp Consort No. 12. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores > > That should do it. --AJN. > - Original Message - > From: "Arthur Ness" <[EMAIL PROTECTED]> > To: "Lute Net" > Sent: Wednesday, June 14, 2006 11:35 AM > Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > > >> "Arthur Ness" <[EMAIL PROTECTED]> wrote in >> message >> news:[EMAIL PROTECTED] >> <> >> >>> That's an interesting observation that the >>> Brescianello pieces are for >>> 8-course gallichon. Also the pieces are simply >>> titled "Gallichone solo" >>> and >>> that designation does not necessary exclude a bass >>> instrument like a gamba >>> or 'cello. What kind of mandora do you have? (If you >>> have one.) >>> >>> Arthur. >> - >> - >> I was thinking about those "three anonymous" concertos >> that were mentioned >> here recently. Actually, there are two chamber >> concertinos and a piece >> titled "Sinfonia a\ Solo di Arciliuto." These are >> works that Robert Spencer >> purchased at the 1956 sale of manuscripts from the >> Graf Harrach Collection >> in Vienna and Rohrau (Haydn's mother worked in the >> Count's kitchen!!). >> They >> probably were copied in Bohemia. Incidentally one of >> the >> continuo parts in one of the concertinos is for >> "Organo,"and that is a >> possibility that should be seriously considered when, >> say a Vivaldi >> concerto, is performed on lute(s) or guitar(s). Why >> have a plucked >> instrument competing with a plucked instrument >> (harpsichord). >> >> Getting back to the ":Solo." the lute part is notated >> in the treble clef, >> sounding an octave lower than written, and includes >> all of the necessary >> bass notes. But along with the lute part, is a >> continuo part in the bass >> clef with figures for a second instrument (2nd lute?, >> harpsichord? organ?), >> which might be doubled by a thrid instrument, a 'cello >> or gamba. So >> Stephen's suggestion reminded me that another >> possibility may be that there >> may be a lost continuo part for the Brescianello >> pieces. > > > > > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: Renaissance Lute ARIA Model L-85 ?
On Jul 11, 2006, at 1:59 PM, Steve Bryson wrote: > I seem to recall > hearing that Aria was a Yamaha product, but all I knew at the time of > purchase is that it was "made in Japan". It is obviously mass- > produced, with a simple soundboard and a punch-cut rosette. It was my understanding that Aria lutes were built by a single maker in Nagoya for Aria. > But I've > certainly gotten my money's worth with it, and if I could find a > local luthier I would have the cracked pegbox replaced. It has good > enough action for me. The case that comes with the lute is very > nice. From what I've heard it's way better than the current $600 > Pakistani lutes. I'm sure it is worth fixing if you could find someone. > I'd want to see better > pictures of the pegbox, both sides to make sure there are no cracks, > and the height of the action first I had one way back when. One of the odd things the maker did was to not put a backing on the pegbox, this makes it weak. It does make it easier to put strings on though. I don't know if that is why he did it. At one point a brace came loose on mine. To replace it meant taking the top off so Hiro Watanabe built a new top for me and put a new bridge in a more historical placement and I had a much better lute. The repair cost almost as much as the lute though. This served me for quite a while and it didn't sound half bad. The neck was a wide clunker though. Oh yeah, another weird thing was that what looked like strips of black spacer wood between the ribs were actually painted pin stripes. cheers, To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: G.A. Brescianello 1690-1757 download
"Arthur Ness" <[EMAIL PROTECTED]> wrote in message news:... > In regard to our Brecianello discussion, I have posted > the remaining two movements for the Sinfonia. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ > > === > I have posted two movements from the anonymous sinfonia. > It seems to be a six course instrument with three > diapasons, tuned to > low C (2 ledger lines, used very rarely), D and E; > the continuo instruments seems not to have the low C.)). > > Since the lute part is mainly one line with the bass notes > played by the continuo, it could be played by violin or > flute with lute playing the continuo part. > > Any thoughts? The suggestion from Mark and Stephan about > the awkward bass lines in the Brescianello sonatas > brought this piece to mind. The [mandora? lute?] doubles the > bass line, but only in a desultory manner. > > Oh, where are they? Also a link to William Lawes, too. > Fantasia from The Harp Consort No. 12. > > http://mysite.verizon.net/vzepq31c/arthurjnesslutescores > > That should do it. --AJN. > - Original Message - > From: "Arthur Ness" <[EMAIL PROTECTED]> > To: "Lute Net" > Sent: Wednesday, June 14, 2006 11:35 AM > Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > > >> "Arthur Ness" <[EMAIL PROTECTED]> wrote in >> message >> news:[EMAIL PROTECTED] >> <> >> >>> That's an interesting observation that the >>> Brescianello pieces are for >>> 8-course gallichon. Also the pieces are simply >>> titled "Gallichone solo" >>> and >>> that designation does not necessary exclude a bass >>> instrument like a gamba >>> or 'cello. What kind of mandora do you have? (If you >>> have one.) >>> >>> Arthur. >> -- >> I was thinking about those "three anonymous" concertos >> that were mentioned >> here recently. Actually, there are two chamber >> concertinos and a piece >> titled "Sinfonia a\ Solo di Arciliuto." These are >> works that Robert Spencer >> purchased at the 1956 sale of manuscripts from the >> Graf Harrach Collection >> in Vienna and Rohrau (Haydn's mother worked in the >> Count's kitchen!!). >> They >> probably were copied in Bohemia. Incidentally one of >> the >> continuo parts in one of the concertinos is for >> "Organo,"and that is a >> possibility that should be seriously considered when, >> say a Vivaldi >> concerto, is performed on lute(s) or guitar(s). Why >> have a plucked >> instrument competing with a plucked instrument >> (harpsichord). >> >> Getting back to the ":Solo." the lute part is notated >> in the treble clef, >> sounding an octave lower than written, and includes >> all of the necessary >> bass notes. But along with the lute part, is a >> continuo part in the bass >> clef with figures for a second instrument (2nd lute?, >> harpsichord? organ?), >> which might be doubled by a thrid instrument, a 'cello >> or gamba. So >> Stephen's suggestion reminded me that another >> possibility may be that there >> may be a lost continuo part for the Brescianello >> pieces. > > > > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: G.A. Brescianello 1690-1757 download
In regard to our Brecianello discussion, I have posted the remaining two movements for the Sinfonia. http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ === I have posted two movements from the anonymous sinfonia. It seems to be a six course instrument with three diapasons, tuned to low C (2 ledger lines, used very rarely), D and E; the continuo instruments seems not to have the low C.)). Since the lute part is mainly one line with the bass notes played by the continuo, it could be played by violin or flute with lute playing the continuo part. Any thoughts? The suggestion from Mark and Stephan about the awkward bass lines in the Brescianello sonatas brought this piece to mind. The [mandora? lute?] doubles the bass line, but only in a desultory manner. Oh, where are they? Also a link to William Lawes, too. Fantasia from The Harp Consort No. 12. http://mysite.verizon.net/vzepq31c/arthurjnesslutescores That should do it. --AJN. - Original Message - From: "Arthur Ness" <[EMAIL PROTECTED]> To: "Lute Net" Sent: Wednesday, June 14, 2006 11:35 AM Subject: [LUTE] Re: G.A. Brescianello 1690-1757 download > "Arthur Ness" <[EMAIL PROTECTED]> wrote in > message > news:[EMAIL PROTECTED] > <> > >> That's an interesting observation that the >> Brescianello pieces are for >> 8-course gallichon. Also the pieces are simply >> titled "Gallichone solo" >> and >> that designation does not necessary exclude a bass >> instrument like a gamba >> or 'cello. What kind of mandora do you have? (If you >> have one.) >> >> Arthur. > -- > I was thinking about those "three anonymous" concertos > that were mentioned > here recently. Actually, there are two chamber > concertinos and a piece > titled "Sinfonia a\ Solo di Arciliuto." These are > works that Robert Spencer > purchased at the 1956 sale of manuscripts from the > Graf Harrach Collection > in Vienna and Rohrau (Haydn's mother worked in the > Count's kitchen!!). > They > probably were copied in Bohemia. Incidentally one of > the > continuo parts in one of the concertinos is for > "Organo,"and that is a > possibility that should be seriously considered when, > say a Vivaldi > concerto, is performed on lute(s) or guitar(s). Why > have a plucked > instrument competing with a plucked instrument > (harpsichord). > > Getting back to the ":Solo." the lute part is notated > in the treble clef, > sounding an octave lower than written, and includes > all of the necessary > bass notes. But along with the lute part, is a > continuo part in the bass > clef with figures for a second instrument (2nd lute?, > harpsichord? organ?), > which might be doubled by a thrid instrument, a 'cello > or gamba. So > Stephen's suggestion reminded me that another > possibility may be that there > may be a lost continuo part for the Brescianello > pieces. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Strings which ring too long.
Mr. Ward, A look inside a piano, or some harpsichords will reveal that they dampen the vibration of the unstopped strings with pieces of felt wound between the strings. I would try a piece of felt about 2mm wide. Wind it between the offending strings at the bridge. For more dampening, move the felt forward, away from the bridge. If 2mm of felt is too much, try a piece of yarn. Lou Aull -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: recommended lute pitch
I have a 63cm VL lute, it is over length for a G chanterelle. (The kit maker has shrunk his lute by a bit since I communicated with him). Look at Andrea Damiani's book, as translated from the Italian by our list member Doc Rossi. Without going into details of string characteristics Damiani lists the maximum pitch for the chanterelle, given VL, as A for 56-58 cm, G for 60-62 cm, and F# for 62-64 cm. - F for 65-66, and E for 67-68. I'm sure this is empirical, and he is referring to gut at A=440. It is an anomaly of strings that there is a breaking pitch no matter the guage, given the material. For the last two years my 63cm lute has been tuned to G at the chanterelle, but that string is nylon fishing line. Musical nylon strings wouldn't hold better than F#, an nylgut about the same (I tried them). I didn't try gut, but it would probably have snapped at about E or F. The old canard that luthiers chose the pitch, given the VL, by tuning just under the breaking point is valid, if not true. Each material has a density that is a part of its nature, and it also has a tensile strength that is inate. If one neglects the possible destruction of the instrument by the total tension of the strings (a real factor in harp design, as the strings pull directly on the soundboard instead of across a bridge) then one can look at the strings in isolation. Any string, no matter the guage (given the material) will break at the same pitch (given the VL). I said it was an anomaly, but it isn't. The resistance to breaking increases with the cross section, as does the effective density (weight per unit length). So if you put on a thinner guage to increase the pitch you will also have less resistance to breaking under tension. The upshot is that the VL defines the maximum pitch. Empirically the gut will be about 1 to 1 1/2 tones below nylon at the max, with nylgut about 1/2 tone below nylon. That depends, of course, on the particular gut used. There is an anomaly in the commonly used strings for the various stringed instruments. The balance of characteristics between steel and gut and nylon and nylgut makes them all about the same in breaking pitch. The only string used today with totally different characteristics is bronze or brass. I've done some work with this and can provide figures for any who are interested, but write me at my direct address as I don't look at the Lute list often (no predjudice, just rather busy). Best, Jon BTW, pitch don't matter unless you are playing with others. I'm in the process of transcribing medieval plainsong and counterpoint chants for the harp ensemble, there is no pitch involved except the general pitch of the voices of the monks who sang them. One guesses from the nature of the Latin words and the sense of the music whether it should be brighter and in higher registers or more melancholy and in the bass. jwm. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
