[LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera
I haven't used the LSA Microfilm Library for a while, but, as I remember, they used to give you the option of renting the microfilm or buying a "hardcopy", although the quality of the hardcopy was considerably less than I could get from the microfilm using my library's equipment. Gary - Original Message - From: "Stephen Fryer" <[EMAIL PROTECTED]> To: "Nancy Carlin" <[EMAIL PROTECTED]> Cc: "List LUTELIST" Sent: Saturday, December 06, 2008 9:37 PM Subject: [LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera Nancy Carlin wrote: I love the idea of the LSA Microfilm library being digital, but wonder if it will happen in my lifetime. There is considerable concern that the libraries that provided those microfilms (a lot of them to me back in the 70s when I was Microfilm Librarian) would go ballistic if did anything more than loan out our copies of the films. From what I understand they cannot own the copyrights on the original materials because they are so old, but they do own it on the photography. Unfortunate but true. It makes the LSA microflim library of very little use to those of us who have no access to microfilm equipment. Stephen fryer 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 - http://www.avg.com Version: 8.0.175 / Virus Database: 270.9.15/1833 - Release Date: 12/5/2008 7:08 PM
[LUTE] Re: Lute spotting...
On Sun, Dec 7, 2008 at 1:26 AM, Andrew Gibbs <[EMAIL PROTECTED]> wrote: > ..in 'Whisper of the heart' - an animated film by the wonderful > Studio Ghibli (directed by Hayao Miyazaki's protege Yoshifumi Kondo). > > A 6 course lute appears - along with a violin, gamba, tambourine, > shawm and recorder - in a scene where characters improvise an > accompaniment to John Denver's 'Take Me Home Country Roads'. Good encore piece, especially with the Japanese lyrics. Score available somewhere? David -- *** David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lilypond da Milano
Alexander,
Thank you very much! It may be unconventional, but I think it looks
perfectly respectable and very useful -- maybe I should add for tablature?
Others,
Those of you who do not know Lilypond and who might like to use
Alexander's template, all you have to do is change the notes stored in the
variables I,...,IV. The notation used is the relative notation. The note
immediately after the \relative declaration specifies the absolute pitch.
Subsequent notes are by default chosen to be the nearest ones, up or down,
i.e., c g means go down from whichever c you are at to the nearest g
below. If you want to go up by a fifth you would have to write c g'; to
deviate from the default in the downward direction, you append a comma
instead of a prime. This convention works well most of the time or
otherwise produces interesting errors.
Lilypond provides no WYSIWIG without the information of how you got what
you get, but instead it is an unambiguous, self-documenting road map to
WYWIWYG, What You Want Is What You Get, at least if that's what you want.
Peter.
On Sat, 6 Dec 2008, alexander wrote:
> O well ,once started, hard to stop. This is how it looks in the end ( pdf,
> midi and ly files here)
> http://www.4shared.com/dir/10890314/b1afbb12/Francesco.html
>
> \version "2.10.33"
> \header{
> title = "Ricercar"
> opus = \markup {\small \italic "(N 52)"}
>composer = "Francesco da Milano"
> tagline = ""
> piece = \markup {\small \italic ""}
> }
> \paper{
> paper-size = "letter"
> oddFooterMarkup = "Francesco Ricercar"
> %%system-count = #10
> ragged-bottom = ##t
> ragged-lastbottom = ##t
> %%print-page-number = ##t
> top-margin = .001\in
> %%bottom-margin = .1\in
> %%head-separation = 0\in
> %%foot-separation = 0\in
> %%between-system-space = .25\in
> %%between-system-padding = .25\in
> before-title-space = .001\in
> between-title-space = .001\in
> after-title-space = .001\in
>
> }
> #(set-global-staff-size 17
> )
>
> #(define (fret-letter-tablature-format string tuning pitch)
>(make-string 1 (integer->char
> (+ (char->integer #\a)
> (- (ly:pitch-semitones pitch)
>(list-ref tuning (- string 1)))
>
>
> bb = \bar "|"
> offset = {
> \override Voice.Stem #'extra-offset = #'(0 . .6)
> \override Voice.Beam #'extra-offset = #'(0 . .6)
> }
>
> I = \context Voice \relative c' {
> \set Staff.midiInstrument = "harpsichord"
> \once \override Score.MetronomeMark #'transparent = ##t
> \tempo 4 = 42
> \offset
> \stemUp g'4\1 g8\1 g\1 \bar "|" d4\2 d\2 \bar "|" r8 a'\1 g\1 f\2 ees\2
> g16.\1 a32\1 \bar "|"
>
> bes8\1 bes\1 a\1 g\1 \bb g\1 f\2 ees\2 d\2 \bb r16 f\2 ees\2 d\2 r bes'\1
> a\1 g\1 r c\1 \bb
>
> bes8.\1 a16\1 g16.\1 f32\2 ees16 d c f8 ees16 \bb d8. s r16 d \bb bes ees d
> g[ f bes] g c a f \bb
>
> g bes8 a g fis16 \bb g4 f8 d ees4 d8 s \bb
>
> f16. g32 a16 f c'4 \bb bes8. bes16 a g8 fis16 \bb g8 g g ees16 c d bes c d
> \bb
>
> ees16. d32 c16 bes a g32\4 a \bb bes c d e f g a bes c16 bes a g \bb f32
> ees d c bes a g f ees d c bes\6
>
> r16 c'' bes a g bes a g \bb f a g f e g f e \bb r bes' a g16. e32 fis g
> fis16 g \bb g4 \bar "||"
> }
> II = \context Voice \relative c' {
> \set Staff.midiInstrument = "harpsichord"
> \stemDown s1 d8\2 d\2 bes\3 bes\3 r16 c\3 ees8\2
>
> d s s c bes a c d\3 c s s s c
>
> d8. s s s bes c16 bes c a8 s16 c bes ees s d ees8 c16 d\3
>
> ees d c8 d s s1
>
> s4.. ees16 d8. d16 c bes a8 s16 ees' d c8 b16 c a\4 bes g8 bes16
>
> s4. s2 s4.
>
> s16 c d8 bes c a bes s4 d8 s s4 d
> }
> III = \context Voice \relative c' {
> \set Staff.midiInstrument = "harpsichord"
> \offset
> \stemUp g8\4 g16\4 a\3 bes\3 g\4 bes8\3 g4\4 g\4 fis8\4 s s s g4
>
> r16 g d'8 r16 f, s8 g r16 f s8 g16 f f8\4 bes g c a\4
>
> g8. s s s s a16 g8. fis16 g8 s16 c a d g,8 s
>
> s4 bes8 a g4 a c bes16. c32 d16 bes
>
> a4 s g s g8 s s s s s
>
> s4. s4 ees'16 d c bes a s s4
>
> s2 s4 g8 a f c'16 bes a8 a 4
> }
> IV = \context Voice \relative c' {
> \set Staff.midiInstrument = "harpsichord"
> \stemDown g,4\6 g8\6 g\6 g\6 g16\6 a\6 bes\6 g\6 bes\6 c\5 d8\5 d\5 ees\5
> d16\5 bes\6 c8\5 c\5
>
> g\6 r16 g\6 d'8 r16 c r16 g\6 d'8 r16 c r bes\6 s8 g'\4 ees c4
>
> r16 g32\6 a\6 bes\6 c d16 ees c32 d ees f g16 a f32 g a bes c16 r bes,32\6
> c d ees f16\5 s c d8 ees16 c g' c, d bes\6 c8 f16 bes\4
>
> ees, bes\6 ees f g bes,\6 c d g,16.\6 a32\6 bes16\6 g\6 d'16. ees32 f16 d
> c16. d32 ees16 c g8.\6 g16\6
>
> d'8. d16 c16. d32 ees16 c g16.\6 a32\6 bes16\6 g\6 a\6 bes\6 c d g,\6 c b\6
> c g8\6 c16 f\5 bes,\6 ees8 bes16\6
>
> c d ees16. d32 c16 bes\6 g8\6 d' c16 d f g d8 g,4\6
>
> a32\6 g\6 a16\6 g\6 d' ees8 c d bes\6 c a\6 bes\6 c d d g,4\6
> }
>
> \score {
> <<
> \new TabStaff = "guitar tab" <<
> \set TabStaff.stringTunings = #'(7 2 -3 -7 -12 -17)
> %\set TabStaff.stringTunings = #'(7 2 -3)
> %%\override TabStaff.Stem #'transparent = ##t
>
[LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera
Many inexpensive document scanners can do microfilm and 35 mm negatives. I have an old (old meaning about 3 years old) Epson Perfection-2400 (which, I guess means it can scan @ 2400 dpi, more than you'll need). It has a film holder hidden inside the top cover. You simply thread the film into the holder set the software for "transmission" rather than "reflective" and scan at whatever resolution you need. I think it cost me US $75 or so. Check the Epson, Canon, Fujitsu or Dell websites. The scanners all come with limited but quite servicable software that's pretty much "Point & Grunt." With Best wishes, Al -Original Message- From: Arthur Ness [mailto:[EMAIL PROTECTED] Sent: Saturday, December 06, 2008 4:24 PM To: ml; List LUTELIST Subject: [LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera Dear Manolo, I also thought of shooting the camera on one of those special screened microfilm readers. I had one of the teepee type that I found at a used office equipment store, but it didn't work very well and took up space, so I trashed it. And need something to replace it. And the scanner might be a good substitute. Anyway, there have been several useful suggestions. I'll let you all know what works. There are also services that will digitalize microfilms by the reel, but I do not know how much they charge. Wouldn't it be wonderful to have the entire LSA MIcrofilm Library in digital format? =AJN (Boston, Mass.)= This week's free download from Classical Music Library is Berlioz's Overture to "Benvenuto Cellini," performed by the Orchestre National de Montpellier; Lionel Arnaud, conductor. . To download, click on the CML link here http://mysite.verizon.net/arthurjness/ My Web Page: Scores http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ Other Matters: http://mysite.verizon.net/arthurjness/ http://mysite.verizon.net/vzepq31c/musexx/ === - Original Message - From: "ml" <[EMAIL PROTECTED]> To: "List LUTELIST" Sent: Saturday, December 06, 2008 2:50 PM Subject: [LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera another possibility of scanning microfilm: making a photography of it with a digital camera. I imagine that it would not be that difficult to arrange a "reprography stage" using: 1. a negative holder recycled from an old analog photographic enlarger for holding the microfilm flat, and at the same time framing it, so that we see only the white light that illuminates the film from below, and no light surrounds the film. The light coming from below originates in 2. a small light table (those used for inspecting slides). For holding the camera we need 3. a small tripod. I would arrange everything vertically: on the lowest level the light table, resting on it the negative holder with the microfilm, and above everything the camera. The only problem: we need a camera that can photograph a very small area: 24 x 36 mm. But I'm sure on the market there must be many that are able to do that. The main difference between a scanner and this setup is speed. If many "repros" had to be made this setup is not good, of course. But if you have access to an old enlarger and a light table, why not use them for photographing microfilms? Saludos, Manolo Another way of doing the same would be using on a digital SLR those cheap tubes for reproducing slides that exist since the analogic era. El 06/12/2008, a las 17:52, Stuart Walsh escribió: > Arthur Ness wrote: >> Jean-Marie, >> >> Can you explain how you scan a microfilm? That technique would be >> very handy for many of us. >> >> Commercial microfilm scanners cost several thousands of dollars, >> but I can use one at the library. >> >> Arthur. >> >> > > I use a very cheap slide scanner that I got years ago - a PrimeFilm > 1800... absolutely the bottom of the market. It is not very good > for actual photographic slides but it's fine for microfilm. I think > you can get a cheap slide scanner for about £50 in Britain - so > probably cheaper in USA. The scanner connects via USB. It's a bit > fiddly and slow but once you've got a scan you can clean it up. You > can zoom in on details etc. And you have a permanent record of it. > > It doesn't work for every microfilm though: the de Gallot guitar MS > is some kind of A4, portrait shape (I don't know the technical term) > and it has been photographed in landscape format. So the top and > bottom is chopped off. > > > Stuart > >> =AJN (Boston, Mass.)= >> This week's free download from Classical >> Music Library is Berlioz's Overture to >> "Benvenuto Cellini," performed by the >> Orchestre National de Montpellier; >> Lionel Arnaud, conductor. . >> >> To download, click on the CML link here >> http://mysite.verizon.net/arthurjness/ >> >> My Web Page: Scores >> http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ >>
[LUTE] Best material for extending a string.
Suppose a string broke betwen the nut and the peg, so you needed an extension to reach the peg. What material would be best for the extension? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera
Good morning, Nancy! That's an interesting agrument you raise about the copyright. I must really ask Charlotte to look into the matter. There's lots of information available from the Music Library Association, and several years ago she took a mini-seminar on music copyright law for librarians. But she may not want to comment in public, since that might be practicing law. Josef Klima (d. in the 1970s? or '80s?) ran into trouble and was blacklisted by several libraries in the U.,S. (and elsewhere?). He was selling copies of library microfilms from his Wiener Lautenarchiv, and some U.S. music librarian heard about it. At Klima's request, I tried to get him off any blacklist, and approached the head of the Music Division at the NYPL. Suki Sommers, who was famed for her cheerful cordiality and helpfulness, really flared up when I made the suggestion that he be permitted to order microfilms. She may have thought he was making a profit, and the LSA might avoid that by not charging. Or use of the digital files limited to members only. It was indeed the idea of the "creation" of a photograph that is copyrightable, whereas the object, _*published*_ long ago, is in the public domain according to almost every country's copyright law. This concept protects some facsimile editions, as I understand. Thus according to Swiss law, Mrs. Minkoff can claim copyright not only for the photography but for the work itself. According to a notice** in her edition of the Siena MS, it is illegal even to make a transcription using her facsimile. I think she takes advantage of Swiss laws that were drawn up to protect their industry in publishing fine art books. It is also possible that under Netherlands law, the manuscript is still owned by the library in The Hague. It is really a siruation so complex that it's beyond a layperson. According to some information an attorney posted to one of these newsgroups, in the U.S. case law has overturned the idea of a copyrightable photographic image of a puboic domain document. The making of a photograph of an old book was not considered "creative" enough for copyright protection. And after all that's what the copyright law is all about, to protect the work of a "creator," whether it be a photpgrapher taking a picture of a sunset, or a composer like Ravel depicting in music a sunrise. And now there's some kind of copyeight dispurte over Google Books, and that should set some precedents. I hope this doesn;t mean we'll all now get into one of the usual extended arguments about copyright law and fair use. Nothing is ever accomplished. Of course, one could take the logical step and write to the libraries asking permission. **Mrs. Minkoff's notice: WARNING: This publication is protected by Swiss law on copyright Any reproduction or transcription--even partial--by any means would constitute a counterfeiting punishable by articles 42 ff of said law. PHOTOCOPY PROHIBITED =AJN (Boston, Mass.)= This week's free download from Classical Music Library is Berlioz's Overture to "Benvenuto Cellini," performed by the Orchestre National de Montpellier; Lionel Arnaud, conductor. . To download, click on the CML link here http://mysite.verizon.net/arthurjness/ My Web Page: Scores http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ Other Matters: http://mysite.verizon.net/arthurjness/ http://mysite.verizon.net/vzepq31c/musexx/ === - Original Message - From: "Nancy Carlin" <[EMAIL PROTECTED]> To: "List LUTELIST" Sent: Sunday, December 07, 2008 12:30 AM Subject: [LUTE] Re: was Galliard after Laveche (William Ballet Lute Book), now: scan vs camera | I love the idea of the LSA Microfilm library being digital, but wonder | if it will happen in my lifetime. There is considerable concern that | the libraries that provided those microfilms (a lot of them to me back | in the 70s when I was Microfilm Librarian) would go ballistic if did | anything more than loan out our copies of the films. From what I | understand they cannot own the copyrights on the original materials | because they are so old, but they do own it on the photography. | Nancy | | I also thought of shooting the camera on one of those special | screened | microfilm readers. I had one of the teepee type that I found at a | used office equipment store, but it didn't work very well and took | up | space, so I trashed it. And need something to replace it. And the | scanner might be a good substitute. Anyway, there have been several | useful suggestions. I'll let you all know what works. | There are also services that will digitalize microfilms by the reel, | but I do not know how much they charge. Wouldn't it be wonderful to | have the entire LSA MIcrofilm Library in digital format? | =AJN (Boston, Mass.)= | This week's free download from Classical | Music
[LUTE] Re: Best material for extending a string.
Usually I match like with like (gut/gut, nylon/nylon, etc.) but may go to stiffer, stronger, & if possible less stretchy material from nut to pegbox. Some players do this routinely to get two lengths out of a string, and some have done this precisely to make tuning faster & more sure with the less flexible material running form nut to pegbox. Braided fishing line can be good for this, but hard & slippery can be tough to tie- like polished nylon or carbon fiber; these can be roughened with sandpaper. Dan >Suppose a string broke betwen the nut and the peg, so you needed an extension >to reach the peg. What material would be best for the extension? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: was Galliard after Laveche, now: scan vs camera
On Dec 7, 2008, at 10:37 AM, Arthur Ness wrote: > This concept protects some > facsimile editions, as I understand. Thus according to Swiss law, > Mrs. Minkoff can claim copyright not only for the photography but for > the work itself. According to a notice** in her edition of the Siena > MS, it is illegal even to make a transcription using her > facsimile. I think she takes advantage of Swiss laws that > were drawn up to protect their industry in publishing fine art books. > It is also possible that under Netherlands law, the manuscript is > still > owned by the library in The Hague. It's also possible Mrs. Minkoff is puffing. It doesn't cost her anything to stake out an extravagant position. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Best material for extending a string.
Ah, "leaders". I got to know these very well in my early lute days learning from Roger Harmon: A parsimonious master of careful string husbandry. This is another reason we NEVER throw out old strings, especially gut. Just find the closest in size to the broken string, bend them together, retune and voila da mano, Bob's your uncle. This also works for putting on new strings where they reach (or almost reach; this is an artform in itself) the nut but not enough to get a purchase on the peg. (Another trick is to wind the string on the peg while not going over the nut, ie going off to the side; you can get a just a few more cms that way. Soon as you get peg purchase, pull it onto the nut by hand) I've been doing this for 30 years now and slowly revising my bag of tricks to stay one step ahead of string prices. Here are a few notes: For a while I used rough hemp string for this but it's fallen out of favor as it looks like rats made a nest in the pegbox. But it works, doesn't stretch much and is cheap. Note that you can only use a hemp leader once --if it breaks it will have stressed some internal fibers more than others rendering it considerably weaker. Roger used to use standard kitchen string (it's real cheap!) but I didn't get the hang of it. Attaching any two gut strings together is a snap (meaning "easy", :^). If either are nylgut it's a problem of trying to outsmart the slipperiness and its inherent weakness in tight bends. This is a little easier to do w/ NG strings larger than ~.50mm, ie, not a chanterelle or 4th 8ve --for those I bite the bullet and go with a whole string. If you do have to bend them together you can burn a small ball onto the end of the nylgut as well so it won't eventually slip off the bitter end. Prayer helps. Some further observations: I have never gotten a nylon leader to work w/ the chanterelle. NG leaders below ~.48mm are way too iffy. NG leaders in general are stretchy and difficult to work with. In a pinch fretgut works better. For a chanterelle try to use a slightly larger diameter leader than the string. For tying two gut thin strings together, I go w/ this method: Burn a ball onto both the string end and the leader end. Make loose overhand knot on the string end and pass the leader through it before pulling it tight as close to ball as possible. Tie another overhand knot on the leader also as close to the ball as possible. If you are breaking strings here there there is a good possibility that your problem is NOT in the string, ie DO NOT assume it's a string problem. So I can't emphasize enough: keep your nuts healthy! 1. No sharp edges, especially the very last part where it leaves the nut to the peg. If there is any kind of angle where the string leaves the final flat surface to go to the peg it will put undo tension on the underside of the string. If it is a NG it will use this to weaken the string and you will be reminded of this weakness about 1/8 of a turn before it reaches full tension. The certainty increases with the number of spare strings you posess. 2. Make sure the channel is round and the diameter is larger than the string. If it is good now DO NOT assume it will stay that way forever. It may deteriorate quicker for synthetic strings and metal wound strings and also if you change diameters. ymmv. 3. Lubrication helps immensely. Graphite may last a little longer than beeswax but beeswax is invisible. If, when you incrementally turn the peg, it shoots past the pitch you want then you need lube. Please, please, please, set your, your bandmates' and your audience's, minds at ease w/ this simple remedy. One more little trick: While grossly tuning up a new string, set it outside the channel and when it's a semitone or two away from designated pitch, put a little lube in the channel (and if beeswax, rub a little on the underside of the string just south of the nut) and then drop the string into the groove. If you are using your last NG or chanterelle, you may want to leave a little extra string beyond the bridge so that, if it breaks between the nut and the peg you still have a little more string to work with. When you feel confident THEN clip off the remainder. Ok, as usual Herbert asks a good simple hypothetical question and I write a novel. I'm sure there are many people w/ more practical experience than I on this list. I would love to hear about your observances in this area! cheers, Sean On Dec 7, 2008, at 10:24 AM, Herbert Ward wrote: Suppose a string broke betwen the nut and the peg, so you needed an extension to reach the peg. What material would be best for the extension? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Best material for extending a string.
A piece of an old string (the reason you save your old strings) or a piece of spare fret gut, or a piece of monofilament fishing line of appropriate dimension. Tie end to end with a barrel knot, used in fishing. I suppose there may be better methods but any port in a storm. - Original Message - From: "Herbert Ward" <[EMAIL PROTECTED]> To: Sent: Sunday, December 07, 2008 1:24 PM Subject: [LUTE] Best material for extending a string. Suppose a string broke betwen the nut and the peg, so you needed an extension to reach the peg. What material would be best for the extension? 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 - http://www.avg.com Version: 8.0.176 / Virus Database: 270.9.15/1834 - Release Date: 12/6/2008 4:55 PM
[LUTE] [**spam**] Re: Best material for extending a string.
I wouldn't know, my strings never seem to break in such a convenient location. Just lucky, I guess. Best to all, and keep playing, Chris. >>> "vance wood" <[EMAIL PROTECTED]> 12/7/2008 6:40 PM >>> A piece of an old string (the reason you save your old strings) or a piece of spare fret gut, or a piece of monofilament fishing line of appropriate dimension. Tie end to end with a barrel knot, used in fishing. I suppose there may be better methods but any port in a storm. - Original Message - From: "Herbert Ward" <[EMAIL PROTECTED]> To: Sent: Sunday, December 07, 2008 1:24 PM Subject: [LUTE] Best material for extending a string. > > Suppose a string broke betwen the nut and the peg, so you needed an > extension > to reach the peg. What material would be best for the extension? > > > > 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 - http://www.avg.com Version: 8.0.176 / Virus Database: 270.9.15/1834 - Release Date: 12/6/2008 4:55 PM
[LUTE] Re: Lute spotting...
Doh! I think Whisper of the Heart was released in 1998, I got around to watching the DVD last night. I should have guessed that in the intervening decade someone on this list would have beaten me to the spotting. All prize monies to Peter Hoar. On 7 Dec 2008, at 10:29, G. Crona wrote: > Recycling Andrew? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute spotting...
There is a wonderful precedent of reworking decades old songs into new pieces for lute. It's fascinating to watch this tradition continue in our time. Thanks for (re)spotting it, Andrew. I enjoyed it very much. Sean On Dec 7, 2008, at 4:20 PM, Andrew Gibbs wrote: Doh! I think Whisper of the Heart was released in 1998, I got around to watching the DVD last night. I should have guessed that in the intervening decade someone on this list would have beaten me to the spotting. All prize monies to Peter Hoar. On 7 Dec 2008, at 10:29, G. Crona wrote: Recycling Andrew? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute spotting...
Thanks Steve - I guess the curve was another clue I should have noticed. On my crappy TV I can't really hear if the instruments on the soundtrack are the ones shown in the animation - I'd like to think so... On 7 Dec 2008, at 02:54, Steve Ramey wrote: ...the instrument that follows the tambourine is variously known as a cornett, cornetto, or krummer zink. It has a tiny, trumpet-like mouthpiece, not the double reed a shawm would have. It has holes like a recorder and is often played off to one side of the player's embochure, just as the animation shows. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
