[BAROQUE-LUTE] Goldberg Prize
My fellow luters, Thanks so much for all your good wishes that I've been receiving both on and off-list!!! I am very pleased to have been awarded this prize, and I am particularly hoping that the next issue of Goldberg will help pique curiosity in the lute repertoire in general, and that of the *Grand Si=E8cle* in particular. The fact that a generalist early music magazine chose my submission bodes well for us, in that it seems a kind of litmus test showing the interest given the lute from civilian non-pluckers. I hope that the fabulous production of the magazine combined with its wide distribution will serve to further this interest. Again, thanks so much for your kind messages!!! (; All good wishes, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
Warmest thanks, David, for all the detailed explanations. Much appreciated by the dummy I am! In this case, you will want 48/24 unless you wish to make a CD recording, for that you need 44.1/24. Does this mean that one can only burn this type of file to an audio CD? Thanks again! Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
CDs are 44.1/16 bit, and 44.1 is a bad fraction. In converting 44.1/24 to CD, the music is organized into blocks, and the extra bits are tossed (remember that they can be used for gain), but if you record at 44.1 you then can get almost exactly that info onto the CD. If you record at 48, you have to convert 48 to 44.1, which to my ear never sounds right. However, it can be done. Nowadays, there is no need to do it since you can play the original 24 bit file on a compter or laptop. For $100 or less you can get a sound card for a laptop or PC that has exceptional sound. However, you can put the full 48/24 onto any DVD, and it will sound great. A sort of sound track with no movie. Or you can even put multiple versions on a DVD You can also put higher resolutions on to a DVD audio. which is a special kind of audio DVD. DVD audio sounds amazing for lute, but most people want high quality MP3s. Basically, there are just two many formats, but almost anything plays on a computer or recent DVD player, so CD players are becoming rarer. When I make CDs, I either record at 44.1/24 OR 88.2/24. 88.2 divides perfectly to make a CD. Nowadays, it makes little sense not to use 48 or 96, so you can use it with video, or just enjoy the extra highs. However, for lute, the microphones, converters and preamps are more important than the sampling. Most lute recordings just do not have enough gain, they have too much inherent noise, or there is a kind of squawk to the high notes caused by the poor capture of transient harmonics. Recently, lower priced electronics have overcome most of these hurdles, although the microphones, for example a pair of sennheiser MKH 20's, remains somewhat expensive. I say somewhat because when recording a full orchestra a pair of $1500 mics is not that much if you need 32 of them. A pair of MKH20s and a Fireface 400 will make a great lute recording, and you can also use a high end preamp like the Audio Upgrades High Speed mic preamp (very good for early music). A lot of my colleagues use Great River preamps but I prefer other ones for early music. There are a lot of great preamp designs, look for a noise figure of ein 129.5. One thing to remember: I often have people to try out gear. We put up a selection of mics, and listen blind. Different people prefer different gear. Till you listen yourself, you are just guessing. Take the time to try out everything on a short list. For budget mics try the studio projects b1 or C4, modded oktava omnis or Elation KMs if you can find them. However if recording hiss bugs you, then you have to spend a bit more.. dt Warmest thanks, David, for all the detailed explanations. Much appreciated by the dummy I am! In this case, you will want 48/24 unless you wish to make a CD recording, for that you need 44.1/24. Does this mean that one can only burn this type of file to an audio CD? Thanks again! Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
Thanks, David, for all the further information. Very helpful! For $100 or less you can get a sound card for a laptop or PC that has exceptional sound. Do you have any specific recommendations? Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Goldberg Prize
On Mar 15, 2008, at 5:55 AM, Benjamin Narvey wrote: The fact that a generalist early music magazine chose my submission bodes well for us, in that it seems a kind of litmus test showing the interest given the lute from civilian non-pluckers. Or perhaps yours was just far and away the best submission. I suppose you've never even considered that possibility... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
Hi David, I thought that one benefits in high resolution recording because there is some room left for mastering like reverb etc...so that we don't loose quality in the end. Obviously this is more important when we deal with rock or pop music where we have lots of effects involved, but still unless one records just the dry signal I think it's better to have some more bits in the beginning don't you? Do correct me if I am wrong. Best Jaroslaw __ Information from ESET NOD32 Antivirus, version of virus signature database 2949 (20080315) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: How to become a great lute player...
let me tell you fellas : he'll never be good as valery co. -- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Forqueray
Antoine Forqueray La Couperin on viol + archlute. http://www.youtube.com/v/Av20FgeJIokhl Passionate playing. Looks like it may be copyrighted material, so catch it quick before it disappears. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Daniel F Heiman [EMAIL PROTECTED] schrieb: Antoine Forqueray La Couperin on viol + archlute. http://www.youtube.com/v/Av20FgeJIokhl Passionate playing. Looks like it may be copyrighted material, so catch it quick before it disappears. Thank you so much. I'd love to save movies like this, but alas... no such possibilty. Luca Pianco e Vittorio Ghielmi are matching partners, indeed, and I love their passionately playing together. -- Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
uurgghhh : N A I L S ! nur barto soll die laute spilelen valery co auch -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Very ineresting performance I think I would choose the theorbo over the archlute because of the desire to keep the accompaniment a bit lower. Also there are an awful lot of doublings of the harmony. I can't see doing that. But mainly, if I played this on the archlute, I would play the whole piece, as a lute solo. Why not? There is evidence for single strings historicallly, just not guitarry strings. And of course double strings were much more common. dt sinAt 10:09 AM 3/15/2008, you wrote: igor . [EMAIL PROTECTED] schrieb: uurgghhh : N A I L S ! Well, yes, and single strings, too. No HIP evidence for that, and I wouldn't do it that way myself, but what the heck. What counts IMO is the musical output. Oh, and it's Luca Pianca (my fault, sorry). Seems to be taken from their programme Bagpipes from Hell. Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Very ineresting performance I think I would choose the theorbo over the archlute because of the desire to keep the accompaniment a bit lower. Also there are an awful lot of doublings of the harmony. I can't see doing that. But mainly, if I played this on the archlute, I would play the whole piece, as a lute solo. Great idea! Maybe I will do that myself... There is evidence for single strings historicallly, What are the sources for single archlute strings? To me, an archlute just sounds dead without double strings... Are To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Anyone else notice how the continuo part sounds redundant at times as the viol is almost always playing it's own accompaniment? The archlute is rarely playing the bass either. Yes, theorbo would have been nicer. Historically more accurate and would definitely sound better. On Sun, Mar 16, 2008 at 1:18 AM, Daniel F Heiman [EMAIL PROTECTED] wrote: Antoine Forqueray La Couperin on viol + archlute. http://www.youtube.com/v/Av20FgeJIokhl Passionate playing. Looks like it may be copyrighted material, so catch it quick before it disappears. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Amateur recordings
Absolutely, yes, it is better to have more bits. I'm just saying the primary advantage, one of many, for the 24 bits is the depth of the sound and the easy volume changes. When presented with the long list of choices, unless disk space is really an issue, you are looking at 44/24 for CD, 48/24 everything else including MP3, MP4 output. You can certainly use 44.1 for MP3 if your software/reverb package is set up for it--and some are optimized for it. And you can experiment with 88.2/24, 96/24 if you wish! Or 192/24. Most effects are not optimized for higher sampling sampling rates, but are optimized for higher bit depths. The main issue with lute recordings is the gain and the mic/converter sound. And how to make an edit. On the lute, you can basically edit on every note. And some people do! The workflow is important--don't start in 48 and convert to 44.1 for CD, or start in 44.1 and convert to 48 for video. Don't put dither on top of dither (the most common mistake). I mainly use mics for EQ so that is less of a consideration, but some people use eq a lot. I think most ppl use too much compression and it makes the sound worse-- Use manual compression with crossfades and 24 bit gain! That is the real secret. Most recordings I make really have either minimal or zero effects processing--but if something needs fixing, I want to have that option. And it's all in 24 bit for the gain resolution issues. And if recording at home, you will need some kind of effects to take the edge off. So here you have to be practical and decide if it sounds better or just looks better. And when auditioning gear you have to have a friend set it up, so you don't know what is what :) Never record in less than 24 bits, for whatever reason you like! You can always trim the extra bits, but not the other way. Mainly, recordings invariably have One Big Mistake. For example you have a really fine firewire interface, Canare Starquad or Mogami cable, quiet studio, great lute. excellent performance, and a budget mic that the salesperson strongly recommended. Sennheiser shock mounts. But the mic was made in China for $7, the Megastore bought it for $45 and it sold for $200. And the recording sounded bright and hissy... And just try to get someone to part with their $7 mic. Or you have a nice mic and a ten dollar cable, and the recording has a buzz on it or a local radio station. Or you have the most expensive equipment in the world and the phase is reversed. Or the mic is too close and there is a lot of bass boom finger noise. Hey it is really hard to make a good lute recording, why else would they have a thousand edits in them? People rarely use 88.2 even though it is better for CD mastering. (assuming the converters are optimized properly--not always the case!) Higher sampling rates, these can sound better if handled correctly, but can easily sound worse. But, absolutely, yes, it is better to have more bits. And in video, always use high definition, even if the end result is youtube. I suspect in a few years you will be able to get a really good flash recorder for under $100---and they really are very cool. dt At 08:42 AM 3/15/2008, you wrote: Hi David, I thought that one benefits in high resolution recording because there is some room left for mastering like reverb etc...so that we don't loose quality in the end. Obviously this is more important when we deal with rock or pop music where we have lots of effects involved, but still unless one records just the dry signal I think it's better to have some more bits in the beginning don't you? Do correct me if I am wrong. Best Jaroslaw __ Information from ESET NOD32 Antivirus, version of virus signature database 2949 (20080315) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
I think this is a great video to look at to study continuo. Because the lute often is doubling the leading tones and other notes, you can see and develop a hearing sense for this sound, then you can decide if you like it. I want to make it clear that this is not a criticism, it just is unusual and I'm sure an artistic choice, like doubling the parts in Dowland's Lachrimae. Then you can decide when playing figures if these are figures to play, or figures not to play--not double. Warning figures, or figures just fyi. Also there are some figures in the bass that are not in the viol part, you can listen and see if the missing harmonies are filled in by either the lute or the viol, it is a good challenge. You can also compare it to the harpsichord solo version if making a solo lute arrangement. The youtube synch problems have been fixed, I believe, I think the problem is on the other end. If you use the H264 codec you should not have synch problems. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
i agree ! please do that, record your version and show to the italians you can do better and historically more accurate. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
I wish I could understand any of this.. P : ) On 15/03/2008, David Tayler [EMAIL PROTECTED] wrote: Absolutely, yes, it is better to have more bits. I'm just saying the primary advantage, one of many, for the 24 bits is the depth of the sound and the easy volume changes. When presented with the long list of choices, unless disk space is really an issue, you are looking at 44/24 for CD, 48/24 everything else including MP3, MP4 output. You can certainly use 44.1 for MP3 if your software/reverb package is set up for it--and some are optimized for it. And you can experiment with 88.2/24, 96/24 if you wish! Or 192/24. Most effects are not optimized for higher sampling sampling rates, but are optimized for higher bit depths. The main issue with lute recordings is the gain and the mic/converter sound. And how to make an edit. On the lute, you can basically edit on every note. And some people do! The workflow is important--don't start in 48 and convert to 44.1 for CD, or start in 44.1 and convert to 48 for video. Don't put dither on top of dither (the most common mistake). I mainly use mics for EQ so that is less of a consideration, but some people use eq a lot. I think most ppl use too much compression and it makes the sound worse-- Use manual compression with crossfades and 24 bit gain! That is the real secret. Most recordings I make really have either minimal or zero effects processing--but if something needs fixing, I want to have that option. And it's all in 24 bit for the gain resolution issues. And if recording at home, you will need some kind of effects to take the edge off. So here you have to be practical and decide if it sounds better or just looks better. And when auditioning gear you have to have a friend set it up, so you don't know what is what :) Never record in less than 24 bits, for whatever reason you like! You can always trim the extra bits, but not the other way. Mainly, recordings invariably have One Big Mistake. For example you have a really fine firewire interface, Canare Starquad or Mogami cable, quiet studio, great lute. excellent performance, and a budget mic that the salesperson strongly recommended. Sennheiser shock mounts. But the mic was made in China for $7, the Megastore bought it for $45 and it sold for $200. And the recording sounded bright and hissy... And just try to get someone to part with their $7 mic. Or you have a nice mic and a ten dollar cable, and the recording has a buzz on it or a local radio station. Or you have the most expensive equipment in the world and the phase is reversed. Or the mic is too close and there is a lot of bass boom finger noise. Hey it is really hard to make a good lute recording, why else would they have a thousand edits in them? People rarely use 88.2 even though it is better for CD mastering. (assuming the converters are optimized properly--not always the case!) Higher sampling rates, these can sound better if handled correctly, but can easily sound worse. But, absolutely, yes, it is better to have more bits. And in video, always use high definition, even if the end result is youtube. I suspect in a few years you will be able to get a really good flash recorder for under $100---and they really are very cool. dt At 08:42 AM 3/15/2008, you wrote: Hi David, I thought that one benefits in high resolution recording because there is some room left for mastering like reverb etc...so that we don't loose quality in the end. Obviously this is more important when we deal with rock or pop music where we have lots of effects involved, but still unless one records just the dry signal I think it's better to have some more bits in the beginning don't you? Do correct me if I am wrong. Best Jaroslaw __ Information from ESET NOD32 Antivirus, version of virus signature database 2949 (20080315) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Peter Martin Belle Serre La Caulie 81100 Castres France tel: 0033 5 63 35 68 46 e: [EMAIL PROTECTED] web: www.silvius.co.uk http://absolute81.blogspot.com/ www.myspace.com/sambuca999 www.myspace.com/chuckerbutty --
[LUTE] Re: Forqueray
On 3/15/2008, igor . [EMAIL PROTECTED] wrote: i agree ! please do that, record your version and show to the italians you can do better and historically more accurate. I am kind of allergic only of two points in this longish essay: 1) show to the italians you can do better: To me this sounds nationalistic, there is a sound of ethnic cleansing. 2) historically more accurate: Sounds to me as authenticity - as used some decades ago, and rejected one decade later... I totally agree with David T's comments on the mistakes and better alternatives, but I shudder when reading igor721's early music (nearly) facism(?). All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amateur recordings
recorder for under $100---and they really are very cool. dt At 08:42 AM 3/15/2008, you wrote: Hi David, I thought that one benefits in high resolution recording because there is some room left for mastering like reverb etc...so that we don't loose quality in the end. Obviously this is more important when we deal with rock or pop music where we have lots of effects involved, but still unless one records just the dry signal I think it's better to have some more bits in the beginning don't you? Do correct me if I am wrong. Best Jaroslaw __ Information from ESET NOD32 Antivirus, version of virus signature database 2949 (20080315) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Peter Martin Belle Serre La Caulie 81100 Castres France tel: 0033 5 63 35 68 46 e: [EMAIL PROTECTED] web: www.silvius.co.uk http://absolute81.blogspot.com/ www.myspace.com/sambuca999 www.myspace.com/chuckerbutty --
[LUTE] Re: Forqueray
I'm not saying there are mistakes, I think it is interesting on a number of levels, these are good players, so they are making artistic choices. I think it is totally OK to learn from the video, beacause it raises such interesting issues. I'm going to recommend it as a continuo study, and of course everyone should have their own interpretation. Some might find the theorbo too muddy with the low notes of the viol, for example, and prefer the higher sound of the archlute. And two viols is a nice instrumentation. One thing the players do really well, is they don't slow down at the hard bits! dt At 02:30 PM 3/15/2008, you wrote: On 3/15/2008, igor . [EMAIL PROTECTED] wrote: i agree ! please do that, record your version and show to the italians you can do better and historically more accurate. I am kind of allergic only of two points in this longish essay: 1) show to the italians you can do better: To me this sounds nationalistic, there is a sound of ethnic cleansing. 2) historically more accurate: Sounds to me as authenticity - as used some decades ago, and rejected one decade later... I totally agree with David T's comments on the mistakes and better alternatives, but I shudder when reading igor721's early music (nearly) facism(?). All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
They are Italians indeed ! What's wrong with that ? Except for lute player who is as bad as my dead dog ! One should play lute with no nails and double strung ! No other way ! Barto, Valery , O'Dette , Shoskes,Tyler , Schall, Wikla use no nails watch their great performances on youtube and compare with the italians -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
-- Forwarded message -- From: igor . [EMAIL PROTECTED] Date: Sat, Mar 15, 2008 at 11:00 PM Subject: Re: [LUTE] Re: Forqueray To: David Tayler [EMAIL PROTECTED] Cc: lute-cs. dartmouth. edu lute@cs.dartmouth.edu They are Italians indeed ! What's wrong with that ? Except for lute player who is as bad as my dead dog ! One should play lute with no nails and double strung ! No other way ! Barto, Valery , O'Dette , Shoskes,Tyler , Schall, Wikla use no nails watch their great performances on youtube and compare with the italians -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Let's not read too deep into Igor's comments. I think this was directed to me, at my audacity in suggesting that I may know better. While I am well capable of performing Forqueray, I think to record a version of my own online with the sole purpose to prove that I can interpret Forqueray better is a bit too much effort! The current early music movement has created itself certain national styles, which I think many of us can detect. I think Igor statement is a very casual one. There are certain things that are make our musical decisions more historically accurate. While the interpretation of the information we have from the past can change, the facts cannot. The viol community of late 17th/early 18th century was dominated by a group viol/lute/theorbo/guitar players that we have enough information about to make pretty OK guesses when it comes to instrumentation. I'm sure that many will agree that an archlute is not the best instrument to use to accompany these works. From the duo's decision, we can safely conclude that these historical issues didn't really matter to them. That's fine by me. But I think some of us would like to know the music would change if the choice of continuo instrument was different. David: While you might find the theorbo too muddy on the low notes of the viol, the aesthetic of the day points towards low, low, low! Two viols would be even more redundant. The solo viol part doubles the bass line more than half the time. I hope we are all free criticize on this list! Shaun On Sun, Mar 16, 2008 at 6:30 AM, [EMAIL PROTECTED] wrote: On 3/15/2008, igor . [EMAIL PROTECTED] wrote: i agree ! please do that, record your version and show to the italians you can do better and historically more accurate. I am kind of allergic only of two points in this longish essay: 1) show to the italians you can do better: To me this sounds nationalistic, there is a sound of ethnic cleansing. 2) historically more accurate: Sounds to me as authenticity - as used some decades ago, and rejected one decade later... I totally agree with David T's comments on the mistakes and better alternatives, but I shudder when reading igor721's early music (nearly) facism(?). All the best, Arto -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
In my group we often play french music at A=370. 370 is a good pitch for french music, higher than 340 anyway. 392 is the max., and at this pitch muddiness can creep in. Another way to look at it is the strange situation that the 465 theorbo the top string (the second course) is is 349 HZ and at 392 the top string of the archlute is 349 hz. Hey so they really are the same! Unless my math is wrong Also with two viols the other viol supplies the missing figures, making more of a duet. BTW, many of the Forqueray pieces sound great on the Theorbo Single reentrant in G tune the F to E Tune the seventh course Fretted to D Viola! 400 more solo pieces! dt David: While you might find the theorbo too muddy on the low notes of the viol, the aesthetic of the day points towards low, low, low! Two viols would be even more redundant. The solo viol part doubles the bass line more than half the time. I hope we are all free criticize on this list! Shaun On Sun, Mar 16, 2008 at 6:30 AM, [EMAIL PROTECTED] wrote: On 3/15/2008, igor . [EMAIL PROTECTED] wrote: i agree ! please do that, record your version and show to the italians you can do better and historically more accurate. I am kind of allergic only of two points in this longish essay: 1) show to the italians you can do better: To me this sounds nationalistic, there is a sound of ethnic cleansing. 2) historically more accurate: Sounds to me as authenticity - as used some decades ago, and rejected one decade later... I totally agree with David T's comments on the mistakes and better alternatives, but I shudder when reading igor721's early music (nearly) facism(?). All the best, Arto -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On 3/16/2008, igor . [EMAIL PROTECTED] wrote: They are Italians indeed ! What's wrong with that ? Except for lute player who is as bad as my dead dog ! One should play lute with no nails and double strung ! No other way ! Barto, Valery , O'Dette , Shoskes,Tyler , Schall, Wikla use no nails watch their great performances on youtube and compare with the italians Thanks Igor! I am really in a good company there! :-) Thanks really! And really no nails. But what do you think of our Banchieri: http://video.google.com/videoplay?docid=-7054543506483973843hl=en In this project I had strung my archlute by single strings. Now it has double courses. To me there are only practical differences between the two, no no other ways. I do not feel like cheating... What works is best? And what is your comment of me using only the synthetic string materials? Nylgut, carbon, even nylon and even sometimes old Pyramid wounds? Shouldn't it be only guts? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Banchieri is fail because your continuo sounds much alla Mauro Giuliani. that's what i think Arto. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On 3/16/2008, igor . [EMAIL PROTECTED] wrote: Banchieri is fail because your continuo sounds much alla Mauro Giuliani. that's what i think Arto. And what is your comment of me using only the synthetic string materials? Nylgut, carbon, even nylon and even sometimes old Pyramid wounds? Shouldn't it be only guts? And what type and kind of gut on each course? There really are lots of alternatives... Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Well, apart from your Giuliani style continuo, i can see you distaste for good, quality instruments : so , any stringing you use fits your poor technique and bad instruments you play. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On 3/16/2008, igor . [EMAIL PROTECTED] wrote: Well, apart from your Giuliani style continuo, i can see you distaste for good, quality instruments : so , any stringing you use fits your poor technique and bad instruments you play. Well, tell that to Stephen Barber... :-) Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On Mar 15, 2008, at 6:01 PM, igor . wrote: They are Italians indeed ! What's wrong with that ? Except for lute player who is as bad as my dead dog ! That's a bit strong isn't it? Enough to discourage anyone from wanting to share his/her music with the rest of the lute world. One should play lute with no nails and double strung ! No other way ! Does that include theorbo? Barto, Valery , O'Dette , Shoskes,Tyler , Schall, Wikla use no nails Interesting mix of names... watch their great performances on youtube and compare with the italians Isn't there historical evidence that some Italian lutenists played with nails? David Rastall [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
thanks Diego ! Pianca is now dead for me.There is no historical evidence for Swiss as a lutenist David don't be rasist : Schall and Barto or O'dette ans Shoskes together , why not ? they all play tempo moderato and mezzo piano all their lives we all also know that theorbo was double strung. we also know that Weiss used fingernails p.s. valery ( and that big italian women ) are still my favorite -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On Mar 15, 2008, at 4:58 PM, igor . wrote: thanks Diego ! Pianca is now dead for me.There is no historical evidence for Swiss as a lutenist Ha! No historical evidence that Americans played ren lute either. Let's not start any Paul is dead rumors, ok? Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
That's twice now my name has appeared in the same sentence as Barto and O'Dette. Time to frame the post and retire, I've accomplished all I could hope for in the lute world!! On Mar 15, 2008, at 7:58 PM, igor . wrote: thanks Diego ! Pianca is now dead for me.There is no historical evidence for Swiss as a lutenist David don't be rasist : Schall and Barto or O'dette ans Shoskes together , why not ? they all play tempo moderato and mezzo piano all their lives we all also know that theorbo was double strung. we also know that Weiss used fingernails p.s. valery ( and that big italian women ) are still my favorite -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
Congratulations, Danny! ed At 08:09 PM 3/15/2008 -0400, Daniel Shoskes wrote: That's twice now my name has appeared in the same sentence as Barto and O'Dette. Time to frame the post and retire, I've accomplished all I could hope for in the lute world!! On Mar 15, 2008, at 7:58 PM, igor . wrote: thanks Diego ! Pianca is now dead for me.There is no historical evidence for Swiss as a lutenist David don't be rasist : Schall and Barto or O'dette ans Shoskes together , why not ? they all play tempo moderato and mezzo piano all their lives we all also know that theorbo was double strung. we also know that Weiss used fingernails p.s. valery ( and that big italian women ) are still my favorite -- 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. Version: 7.5.519 / Virus Database: 269.21.7/1329 - Release Date: 3/14/2008 12:33 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
[LUTE] Re: Forqueray
On Mar 15, 2008, at 7:58 PM, igor . wrote: David don't be rasist If you're going to accuse me of being racist, Igor, at least learn to spell proper English. ;-) : Schall and Barto or O'dette ans Shoskes together , why not ? they all play tempo moderato and mezzo piano all their lives I wsn't talking about their racial diversity, or their tempi. I was referring to the variety of playing styles they represent. David R [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On Mar 15, 2008, at 7:58 PM, igor . wrote: David don't be rasist If you're going to accuse me of being racist, Igor, at least learn to spell proper English. ;-) Michael Thames never could, and never will. RT == http://polyhymnion.org Feci quod potui. Faciant meliora potentes. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Forqueray
On Mar 15, 2008, at 8:22 PM, Roman Turovsky wrote: On Mar 15, 2008, at 7:58 PM, igor . wrote: David don't be rasist If you're going to accuse me of being racist, Igor, at least learn to spell proper English. ;-) Michael Thames never could, and never will. RT Roman, Michael Thames??? Roman, this is turning into a very bizarre conversation, but what on Earth has Michael Thames got to do with it? DR [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Banchieri
One of the really interesting things about about the Banchieri is Arto's use of Italian Inegal, a kind of rubato that reflects the underlying accents and rhythms of Italian. Also the inequality is varied in a way that mirrors the differences in the madrigal texts. Also in the contnuo playing it is clear from the shape of the continuo when the singers are in a kind of sprezzatura style that Arto is familiar with the madrigal texts, which is very important for Banchieri. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
