[BAROQUE-LUTE] Re: Le Fameux Corsair
Oups the dates don't work. I should have checked. I did not think a corsair could have been post Weiss. In that case, it must be the following: René Duguay-Trouin René Duguay-Trouin was born in Saint-Malo in 1673, and the son of a rich ship owner took a fleet of 64 ships and was honoured in 1709 for capturing more than 300 merchant ships and 20 warships. He had a brilliant privateering and naval career and eventually became Lieutenant-General of the Naval Armies of the King, i.e., admiral, (French:Lieutenant-Général des armées navales du roi), and a Commander in the Order of Saint-Louis. He died peacefully in 1736. Anthony Le 12 janv. 09 à 15:34, Anthony Hind a écrit : I would think the most famous, and also the last French Corsair would have been Surcouf:$ I found this about him in wikipedia (although I always treat this source with caution, and I have not counterchecked it) Anthony http://en.wikipedia.org/wiki/Corsair Robert Surcouf Robert Surcouf was the last and best known corsair of Saint-Malo. Born in Saint-Malo in 1773, his father was a ship owner and his mother the daughter of a Captain. Ship's boy at 13 and corsair captain at 22 years old, and then — very much against his licence — for several years attacked ships including those of the French East India Company, or Compagnie Française des Indes. During the French revolution, the convention government disapproved of lettres de course, so Surcouf operated at great personal risk as a pirate against British shipping to India. Surcouf was so successful that he became a popular celebrity in France. After a brief early retirement Surcouf again operated against shipping to the Indes. Surcouf became a ship owner himself and died in Saint-Malo in 1827. There is a statue of him on public display. Le 10 janv. 09 à 05:35, Edward Martin a écrit : The sonata in F major by SL Weiss in the London MS has a strange title. The work is also included in the Dresden MS, but is not entitled Le Fameux Corsair. Does anyone have information as to the identity of the famous pirate ? ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
I forgot to say surely it must be Duguay-Trouin. Anthony Le 12 janv. 09 à 17:26, Anthony Hind a écrit : Michel Cardin being both a French speaker and a specialist on Weiss, of course I bow to his greater knowledge, but wasn't Blackbeard a pirate, in modern French, Corsair is very much Privateer, not pirate. And why would Weiss use the French tittle for Blackbeard? As I said in my other message, Surcouf is of course too late, which quite surprised me. I copied the Wikipedia without looking at the dates. I hadn't realized that France used Corsairs so late. Anthony Le 12 janv. 09 à 16:00, Markus Lutz a écrit : Dear Edward, Michel Cardin gives two names in his description: http://www.slweiss.de/London_unv/ge_3Description.pdf Of the more than ninety sonatas known to have been composed by Weiss, only The Infidel and no 22 were given poetic titles. As suggested by Douglas Alton Smith, the pirate in question was, in all probability, Blackbeard (Edward Teach), whose life and spectacular death in 1718 were subject to intense journalistic coverage during the lifetime of Weiss. Another candidate would have been René Duguay-Trouin, a privateer of the same period who excelled in swashbuckling bravado of the same sort. Also in the end of the 17th century the first books on pirates appeared: Alexandre Olivier Exquemelin, Histoire des Frères de la Côte (1699) Daniel Defoe, Life, Adventures and Piracies of Captain Singleton (1720) The first one were translated to German and English very soon. Probably Defoe would be too late, as Fameaux Corsaire probably was written 1720 or in the beginning of 1721. Best regards Markus Anthony Hind schrieb: I would think the most famous, and also the last French Corsair would have been Surcouf:$ I found this about him in wikipedia (although I always treat this source with caution, and I have not counterchecked it) Anthony http://en.wikipedia.org/wiki/Corsair Robert Surcouf Robert Surcouf was the last and best known corsair of Saint-Malo. Born in Saint-Malo in 1773, his father was a ship owner and his mother the daughter of a Captain. Ship's boy at 13 and corsair captain at 22 years old, and then — very much against his licence — for several years attacked ships including those of the French East India Company, or Compagnie Française des Indes. During the French revolution, the convention government disapproved of lettres de course, so Surcouf operated at great personal risk as a pirate against British shipping to India. Surcouf was so successful that he became a popular celebrity in France. After a brief early retirement Surcouf again operated against shipping to the Indes. Surcouf became a ship owner himself and died in Saint- Malo in 1827. There is a statue of him on public display. Le 10 janv. 09 à 05:35, Edward Martin a écrit : The sonata in F major by SL Weiss in the London MS has a strange title. The work is also included in the Dresden MS, but is not entitled Le Fameux Corsair. Does anyone have information as to the identity of the famous pirate ? ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de
[BAROQUE-LUTE] Re: Le Fameux Corsair
Oh well, I just thought of searching specifically for Fameux corsaire barbe Barbe Noire, and I found that things are less clear than I fist thought. In a text from figaro international, Barbe Noire is constantly called pirate, le plus redoutable pirate, but it seems that he started out as a corsaire (privateer): http://www.lefigaro.fr/international/ 2009/01/31/01003-20090131ARTFIG00097-barbe-noire-le-diable-fumant-.php il s'engage de 1702 à 1713, durant la guerre de succession d'Espagne, sur un bâtiment corsaire anglais au service de la reine Anne. So he was first a privateer and then a pirate. So it could be either man as Michel Cardin is right to say. Indeed, both (Black beard/Duguay-Trouin) seem to have been engaged as Corsaires (privateers) in the War of Succession, on opposing sides Where would Weiss' sympathy lie, perhaps there might be a clue there? (probably with the alliance against France?) On the other hand, there is that best selling account of Duguay- Trouin's exploits, so without more evidence... In more popular texts, I found that corsaire and pirate are indeed confused, but would Weiss not have used the more savante expression (court French)? If it was Barbe Noire, Weiss would surely be referring to his first career as privateer? Best wishes Anthony Le 12 janv. 09 à 22:01, Bernd Haegemann a écrit : Quite so, but he is not a corsair, Corsaire. s. m. Pirate, escumeur de mer from Dictionnaire de L'Académie française, 1st Edition (1694) best wishes Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: 11 or 13
It has to do with -percieved- difficulty rather than -actual- difficulty. People just assume that the baroque lute must be a horribly difficult and unfriendly instrument just because it has many strings. And baroque lute players -love- people to think that. Come on-admit it... I think that was a big factor in the lutes temporary demise. This kind of thinking is only holding back the lute today. Nobody cares how many strings a piano has even though it has hundreds. What did Baron say in his book?(I dont have it handy). Something about the lute in 1727 having reached a level of perfection and ease so that a child could play itI tend to agree with him. For me, after playing a 13 course for many years, I wouldn't dream of playing an instrument that didn't have an octave of open bass strings. And I felt the same way after I first started playing it. Now I am not saying that it is a super easy thing to play, but it is no harder than almost any other instrument, and it certainly doesn't deserve the reputation it has. I think the 13 course lute is a remarkable achievment the result of many centuries of progression. To continue to label it as it had been in the 18th century til now as something -so- difficult is really 'bad for business'. Sterling Subject: [BAROQUE-LUTE] Re: 11 or 13 Sterling, you are right in saying that more basses make things easier. At least in some respects: You can play some of the notes with a bass and doesn't have to stop it. But as history went on, it seemed that less courses was easier for most people, else we then would have had more guitars with more than 6 courses. And even in the lute branch people tended more to instruments with less courses - like the mandora. So more basses seems to be at least ambivalent. And I say this as a person that enjoys playing on a 13-course lute (and sometimes suffers under it ...) Best regards Markus sterling price schrieb: - Original Message In fact they are easier to be played. More basses - more problems with the thumb ;-). And there is plenty of good music for it (beside French music Austrian, Bohemian, German etc.). Best regards Markus I disagree with this-I have always contended that more basses make things easier. I would much rather have open basses than fingered ones. -Sterling To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring?
Re: left-handed violinning: http://www.captainfiddle.com/playvioleftbook.html Best, Eugene -Original Message- From: Edward Martin [mailto:e...@gamutstrings.com] Sent: Friday, January 09, 2009 8:52 PM To: Eugene C. Braig IV; 'lute' Subject: [LUTE] Re: Re : Re: restring? Has anyone seen many lefty violinists? ed At 04:25 PM 1/9/2009 -0500, Eugene C. Braig IV wrote: Greetings All: I'm another stereotypical lefty...except when it's time to pluck. Every stringed instrument I have endeavored to play, I do so on standard instruments. As alluded by a few, most plucked string instruments to stop strings along a neck--from the very dawn of extant instruments--are braced asymmetrically to stiffen the soundboard nearer the bridge on the treble side in an effort to balance tone across range. Simply reversing strings, even if crafting new nut and bridge, aren't true conversions to mirror images of standard instruments because of this internal asymmetry. Unfortunately, the whole world of original vintage instruments is shut off to those who opt to learn to play in reverse to standard, because accommodating instruments historically were non-existent to very, very rare. Because playing music is very strictly anthropogenic, I contend that assignment of tasks, string plucking or stopping, may be relatively arbitrary. I'm not arguing that it makes no difference which job is assigned to the dominant hand, but that both jobs are relatively complex and strictly learned behaviors. I suspect a lefty who approaches music plucking with the right (from their perspective, non-dominant) hand very well *may* do so differently than righties. I thus also contend that left-handed beginners at least owe it to themselves to *try* to learn using standard instruments with neck in left hand. I sometimes wonder if lefties who insist on learning in reverse to standard do so because of the expectations they've learned growing up left handed. There certainly are left-handed keyboard players and violinists out there, but seeing any of them play in reverse to standard is rare in the extreme. I'm not certain why we find plucked string luthiers catering more to the whims of left handedness, perhaps because keyboards tend to be such substantial and often multi-user things, and the vintage violin market is much more serious than the vintage lute/guitar/mandolin market amongst serious musicians. Best, Eugene -Original Message- From: Miles Dempster [mailto:miles.demps...@globetrotter.net] Sent: Friday, January 09, 2009 3:46 PM To: David van Ooijen Cc: lute Subject: [LUTE] Re : Re: restring? David, What an instructive and hilarious posting! Many thanks! I am a lefty, but from the very beginning of my plucking life (age 12 or therabouts) I have played guitar and lute right-handed. Perhaps I am ambidextrous to some degree, but I certainly throw a ball with my left, and write with my left. Since both hands must be used skilfully, I wonder if there is any fundamental reason why the plucking or bowing hand has to follow one's dexterity or sinister tendencies. Just a thought Miles Dempster - Message d'origine - De: David van Ooijen davidvanooi...@gmail.com Date: Vendredi, Janvier 9, 2009 5:30 am Objet: [LUTE] Re: restring? À: lute lute@cs.dartmouth.edu On Fri, Jan 9, 2009 at 8:12 AM, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote: I'm afraid it isn't that simple... I am left-handed so I know what I'm talking about. In fact a lute is not built like a guitar and it is not enough to change the strings the other way round to ba able to play a left-handed instrument. Another lefty here. Jean-Marie is right, it's not a good idea to use a right-handed lute the other way round, too many complications. Having said that, I do own one right-handed lute, and have re-strung it. Just so you know what a bad idea that is, I'll give a short summary of the problems playing that lute gives me. It's a 7-course: single first course, 6 double courses. That makes 13 strings. I have not altered the bridge or nut, so to have it as a left-handed 7-course I have a single first and a single 7, only the middle 5 courses are double now. That makes 12 strings, and one spare peg. It has a very awkward string spacing, left and right. For fixing that, changing the nut would not be a big problem, drilling some extra holes in the bridge is a little more tricky, especially as they must be very close to the existing holes. I never bothered. The neck is, as it should be, slightly off-centre. That means it's slightly off-centre the wrong way round now. You don't want to know how awkward that can be, playing in high positions. The neck, the whole instrument in fact, is
[LUTE] Lutes were the earliest form of guitar developed in the thirteenth century
Lute and guitar history - th cutting edge: http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring?
-Original Message- From: Stuart Walsh [mailto:s.wa...@ntlworld.com] Sent: Saturday, January 10, 2009 5:46 AM To: Bruno Fournier Cc: dem...@suffolk.lib.ny.us; Lute List Subject: [LUTE] Re: Re : Re: restring? This fascinating topic comes up every so often and I'd disagree with Bruno... Yes, even as a proper lefty who has opted to play standard instruments and who argues that other lefties should try to do likewise, I still contend that the issue of handedness is not hogwash. I even refuse to call standard instruments right-handed because I don't believe there is anything inherently right-handed about placing an instrument's neck in the left hand, and I don't like nomenclature with an implication that excludes me as a legitimate user of such instruments. The different jobs of the two hands are much more mechanically different in plucked strings than in piano. Still, they are both relatively complex, and I believe lefty beginners still owe it to themselves to at least try on standard instruments. I try playing with a plectrum sometimes and just now I picked one up. I picked it up with my left hand and passed it to my right hand to play. As a player of classical and early mandolins, I play with plectrum quite often, but I don't recall ever paying attention to which hand picks up the pick before playing. So playing right-handed, it you're left-handed, is a bit perverse I think - but it makes life easier. While handedness in approaching music isn't quite hogwash, I'd also like to think that a lefty on a standard instrument isn't quite perverse...I hope. Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
OUch. It is selfexplanItory. RT - Original Message - From: Stuart Walsh s.wa...@ntlworld.com To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 8:01 AM Subject: [LUTE] Lutes were the earliest form of guitar developed in the thirteenth century Lute and guitar history - th cutting edge: http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? LH OT
-Original Message- From: Martin Shepherd [mailto:mar...@luteshop.co.uk] Sent: Saturday, January 10, 2009 4:24 PM To: Lute Net Subject: [LUTE] Re: restring? LH OT I unscrew lids (as does my wife, who is also RH) by holding the jar in my RH and doing the unscrewing with my left. I'm a lefty who holds the jar with the left hand to unscrew with the right. [Caution: the following is wholly facetious] One day we'll have justice and a whole line of products packaged in properly left-handed jars! Best, Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
who the crack wrote this thing...? make me want to upload my Guitar I thesis... On Jan 12, 2009, at 3:14 PM, Roman Turovsky wrote: OUch. It is selfexplanItory. RT - Original Message - From: Stuart Walsh s.wa...@ntlworld.com To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 8:01 AM Subject: [LUTE] Lutes were the earliest form of guitar developed in the thirteenth century Lute and guitar history - th cutting edge: http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
It is the ultimate irony that someone, somewhere, will pay real money in order to read this 3-page collection of drivel. They may even copy the entire thing and give it in as their own writing (which is, after all, the purpose of these kinds of sites.) They will simultaneously be gigged for plagiarism (unless the crowning of Biden as VP in the US legitimizes plagiarism, who knows) and for really bad information. More power to 'em. I can't think of a better set of just deserts, served cold. ray On Mon, Jan 12, 2009 at 8:01 AM, Stuart Walsh s.wa...@ntlworld.com wrote: Lute and guitar history - th cutting edge: http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? LH OT
And the enevitable PC support as everyone must be given a choice of RH or LH threads for jars and fasteners ...and strings. Aargh! Why don't they make right/left-handed velcro shoes for that matter? Ok, facetious again. [which is the only word in English where all the vowells are in alphabetical order. Off-topic enough? I was always the kid who got lost on the museum field trips] Actually, I find Martin's Syndrome interesting: It means, like many of us, he prefers to seperate his elbows to open the jar. To put the left hand on top involves bringing the elbows together. It may be simply a question of strength (or preference) which is, I think, seperate from handedness. Sean On Jan 12, 2009, at 5:25 AM, Eugene C. Braig IV wrote: -Original Message- From: Martin Shepherd [mailto:mar...@luteshop.co.uk] Sent: Saturday, January 10, 2009 4:24 PM To: Lute Net Subject: [LUTE] Re: restring? LH OT I unscrew lids (as does my wife, who is also RH) by holding the jar in my RH and doing the unscrewing with my left. I'm a lefty who holds the jar with the left hand to unscrew with the right. [Caution: the following is wholly facetious] One day we'll have justice and a whole line of products packaged in properly left-handed jars! Best, Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
Good thing for the author that nobody on this list is grading that essay. Eugene -Original Message- From: Stuart Walsh [mailto:s.wa...@ntlworld.com] Sent: Monday, January 12, 2009 8:02 AM To: Lute Net Subject: [LUTE] Lutes were the earliest form of guitar developed in the thirteenth century Lute and guitar history - th cutting edge: http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Harp Strings
Regarding harp strings: I contacted Vanderbilt music, in Bloomington, Indiana, USA - known to harpists for quality gut strings and very helpful customer service. They also told me that they can accommodate gut strings for historical instruments, just contact them. www.vanderbiltmusic.com They sent me the following gauges for concert harp strings: Gauges are in INCHES. Lengths are 48-58 inches (1.2 - 1. 4 meters) 1st Oct: ooG                      .022            oF                      .022            E                      .022            D                      .023            C                      .024            B                      .024            A             0        .025            G                      .026            F                      .027 2nd Oct: E                      .028            D                      .029            C                      .030            B                      .031            A                      .033            G                      .035            F                      .036 3rd Oct: E0                     .037            D                      .039            C                      .041            B                      .043            A                      .046            G                      .047            F                      .049 4th Oct: E                      .051            D                      .053            C              0       .057            B                      .061            A                      .063            G                      .067            F                      .071 5th Oct: E                      .073            D                      .077            C                      .082            B                      .086            A                      .090 different -Original Message- From: Jason Yoshida yo...@kling-on.com To: baroque-l...@cs.dartmouth.edu Cc: chriswi...@yahoo.com Sent: Sun, 21 Dec 2008 4:16 pm Subject: [BAROQUE-LUTE] Re: Harp Strings I have used Bow brand quite a bit on various lutes and guitars. There used to be a harp store here in LA where I could walk in and buy them. (The one thing I really miss from my pre-lute days was when I could pickup a set of ghs boomers on the way to sound check to a gig in Hollywood) They are highly polished and super clear. I was talking to one of the sales-persons and she said that aesthetically pleasing strings was something of an issue. There is another line they make called Burgundy which are a less expensive, I think because they have some visual imperfections. I normally would use the Burgundy line. They all look more like nylon monofilament or carbon. They are worth a try but, they are made slightly different from what we normally use. I think because of the high polish or difference in maybe how they wind the strands, certain gauges tend to squeak a lot while plucking especially when playing without nails. They are definitely more stiff/rigid which is probably less preferable for us. In emergencies I have used them for frets but they are harder to use because of the stiffness. Also since they are so clear they look different tied on the neck. Certain gauges are colored red and black/blue (their c's and f's). Unfortunately, they are not a cool looking wine-red like=2 0you see in old paintings. They are more of an opaque fire-engine red. They are not dyed, but coated with a kind of plastic material, kind of like a frosted circus animal cookie. They however seem to sound fine. I helped a friend string up his 11-course with a complete set and it sounded nice even with the plain gut basses. I have had them on for the trebles of my
[LUTE] Re: restring? LH OT
or facetiously if you're from the sometimes Y shool of thought? or is Y a semi-vowel? Some people regard W as sometimes representing a semi- vowel... On 12 Jan 2009, at 13:51, Sean Smith wrote: Ok, facetious again. [which is the only word in English where all the vowells are in alphabetical order. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
I would think the most famous, and also the last French Corsair would have been Surcouf:$ I found this about him in wikipedia (although I always treat this source with caution, and I have not counterchecked it) Anthony http://en.wikipedia.org/wiki/Corsair Robert Surcouf Robert Surcouf was the last and best known corsair of Saint-Malo. Born in Saint-Malo in 1773, his father was a ship owner and his mother the daughter of a Captain. Ship's boy at 13 and corsair captain at 22 years old, and then — very much against his licence — for several years attacked ships including those of the French East India Company, or Compagnie Française des Indes. During the French revolution, the convention government disapproved of lettres de course, so Surcouf operated at great personal risk as a pirate against British shipping to India. Surcouf was so successful that he became a popular celebrity in France. After a brief early retirement Surcouf again operated against shipping to the Indes. Surcouf became a ship owner himself and died in Saint-Malo in 1827. There is a statue of him on public display. Le 10 janv. 09 à 05:35, Edward Martin a écrit : The sonata in F major by SL Weiss in the London MS has a strange title. The work is also included in the Dresden MS, but is not entitled Le Fameux Corsair. Does anyone have information as to the identity of the famous pirate ? ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Software comparison
Dear lute-netters, the English Lute Society (http://www.lutesoc.co.uk/) has posted an EXCEL sheet that compares several tablature programs. According to the EXCEL sheet tab supports: * Footnotes * pdf output * Can generate a table of contents for multiple pieces Is this new or what is going on here? I don't believe this. Best wishes, Rainer aus dem Spring IT Business Solutions Division Tel.: +49 211-5296-355 Fax.: +49 211-5296-405 SMTP: rspringaus...@tee.toshiba.de CONFIDENTIALITY DISCLAIMER The information in this email and in any attachments is confidential and may be privileged. If you are not the intended recipient, please destroy this message, delete any copies held on your systems and notify the sender immediately. You should not retain, copy or use this email for any purpose outside of any NDA currently existing between Toshiba Electronics Europe GmbH and yourselves. Toshiba Electronics Europe GmbH Hansaallee 181 - 40549 Duesseldorf - Germany Phone: +49 (211) 5296-0 - Fax: +49 (211) 5296-400 Handelsregister Duesseldorf HRB 22487 Geschaeftsfuehrer: Hitoshi Otsuka Amtsgericht Duesseldorf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Software comparison
Sadly, this comparison seems highly inaccurate. The person surveying the Django program f. ex. did definitely not do a proper job! G. - Original Message - From: Spring, aus dem, Rainer rspringaus...@tee.toshiba.de To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 4:11 PM Subject: [LUTE] Software comparison Dear lute-netters, the English Lute Society (http://www.lutesoc.co.uk/) has posted an EXCEL sheet that compares several tablature programs. According to the EXCEL sheet tab supports: * Footnotes * pdf output * Can generate a table of contents for multiple pieces Is this new or what is going on here? I don't believe this. Best wishes, Rainer aus dem Spring To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Software comparison
I wouldn't trust this document, as it aparently didn't consider Alain's Django. I think direct to PDF output is possible on a Mac only, not on PC. On the latter one would need 3rd party software. Tables of contents have been possible for some time. However, my personal preference is to avoid multisection files at all costs, to minimize potential data loss. RT - Original Message - From: Spring, aus dem, Rainer rspringaus...@tee.toshiba.de To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 10:11 AM Subject: [LUTE] Software comparison Dear lute-netters, the English Lute Society (http://www.lutesoc.co.uk/) has posted an EXCEL sheet that compares several tablature programs. According to the EXCEL sheet tab supports: * Footnotes * pdf output * Can generate a table of contents for multiple pieces Is this new or what is going on here? I don't believe this. Best wishes, Rainer aus dem Spring IT Business Solutions Division Tel.: +49 211-5296-355 Fax.: +49 211-5296-405 SMTP: rspringaus...@tee.toshiba.de CONFIDENTIALITY DISCLAIMER The information in this email and in any attachments is confidential and may be privileged. If you are not the intended recipient, please destroy this message, delete any copies held on your systems and notify the sender immediately. You should not retain, copy or use this email for any purpose outside of any NDA currently existing between Toshiba Electronics Europe GmbH and yourselves. Toshiba Electronics Europe GmbH Hansaallee 181 - 40549 Duesseldorf - Germany Phone: +49 (211) 5296-0 - Fax: +49 (211) 5296-400 Handelsregister Duesseldorf HRB 22487 Geschaeftsfuehrer: Hitoshi Otsuka Amtsgericht Duesseldorf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
Michel Cardin being both a French speaker and a specialist on Weiss, of course I bow to his greater knowledge, but wasn't Blackbeard a pirate, in modern French, Corsair is very much Privateer, not pirate. And why would Weiss use the French tittle for Blackbeard? As I said in my other message, Surcouf is of course too late, which quite surprised me. I copied the Wikipedia without looking at the dates. I hadn't realized that France used Corsairs so late. Anthony Le 12 janv. 09 à 16:00, Markus Lutz a écrit : Dear Edward, Michel Cardin gives two names in his description: http://www.slweiss.de/London_unv/ge_3Description.pdf Of the more than ninety sonatas known to have been composed by Weiss, only The Infidel and no 22 were given poetic titles. As suggested by Douglas Alton Smith, the pirate in question was, in all probability, Blackbeard (Edward Teach), whose life and spectacular death in 1718 were subject to intense journalistic coverage during the lifetime of Weiss. Another candidate would have been René Duguay-Trouin, a privateer of the same period who excelled in swashbuckling bravado of the same sort. Also in the end of the 17th century the first books on pirates appeared: Alexandre Olivier Exquemelin, Histoire des Frères de la Côte (1699) Daniel Defoe, Life, Adventures and Piracies of Captain Singleton (1720) The first one were translated to German and English very soon. Probably Defoe would be too late, as Fameaux Corsaire probably was written 1720 or in the beginning of 1721. Best regards Markus Anthony Hind schrieb: I would think the most famous, and also the last French Corsair would have been Surcouf:$ I found this about him in wikipedia (although I always treat this source with caution, and I have not counterchecked it) Anthony http://en.wikipedia.org/wiki/Corsair Robert Surcouf Robert Surcouf was the last and best known corsair of Saint-Malo. Born in Saint-Malo in 1773, his father was a ship owner and his mother the daughter of a Captain. Ship's boy at 13 and corsair captain at 22 years old, and then — very much against his licence — for several years attacked ships including those of the French East India Company, or Compagnie Française des Indes. During the French revolution, the convention government disapproved of lettres de course, so Surcouf operated at great personal risk as a pirate against British shipping to India. Surcouf was so successful that he became a popular celebrity in France. After a brief early retirement Surcouf again operated against shipping to the Indes. Surcouf became a ship owner himself and died in Saint- Malo in 1827. There is a statue of him on public display. Le 10 janv. 09 à 05:35, Edward Martin a écrit : The sonata in F major by SL Weiss in the London MS has a strange title. The work is also included in the Dresden MS, but is not entitled Le Fameux Corsair. Does anyone have information as to the identity of the famous pirate ? ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de
[LUTE] Re: restring?
Re: left-handed violinning: http://www.captainfiddle.com/playvioleftbook.html GREAT link! -Thanks for sharing. As a teacher, I have often been hard-pressed enough just trying to find a half-decent, affordable lute for my right handers. Lefties? Forget it! -I instantly realized the difficulties of a mere restringing, as so thoroughly well explained by David O. When I worked at a guitar repair/dealer's shop, it was easy enough to set up moderate price level, assembly line guitars for lefties, given the presence of workbenches, specialty tools, and piles of bridge and nut blanks. This still didn't address the internal barring issues which require a true, custom built commissioned instrument. (Barber Harris have some really gorgeous lefty lutes on their website, by the way.) I have worked out ways to drill/re-drill lute bridge holes at home; while not doing a R-L conversion I have had to make two very close holes on either side of a single treble string hole to accommodate a double first (an old vihuela since sold), but that's about the least of the problems for proper left hand play given the action neck angle issues. I'm not certain why we find plucked string luthiers catering more to the whims of left handedness, perhaps because keyboards tend to be such substantial and often multi-user things, and the vintage violin market is much more serious than the vintage lute/guitar/mandolin market amongst serious musicians. With all the difficulties involved with building plucked string instruments, it's even worse for bowed. Carved top- already a far more expensive, labor intensive job, never mind the bass bar. Only the sound post is a quick change. And of course the same neck issues but this time on a rounded, (or at least far more rounded) fingerboard. The one thing Ryan J Thompson didn't address adequately is the problem of backwards bowing in a tight ensemble- quartet players can spread out, but the orchestra? You can poke somebody's eye out with that thing! Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? __ From: Stuart Walsh [mailto:s.wa...@ntlworld.com] Sent: Mon 1/12/2009 8:01 AM To: Lute Net Subject: [LUTE] Lutes were the earliest form of guitar developed in the thirteenth century Lute and guitar history - th cutting edge: [1]http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.megaessays.com/viewpaper/4478.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
And why would Weiss use the French tittle for Blackbeard? Pourquoi pas? B. I think that French was quite common in courtly circles, more than English... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
What about those classical French titles which allude to, but do not point at, certain details of events? Miami Vice might have composed the piece the very morning when he had just read the newspaper, which had made enthusing about piratism, reminding him of that ineffable copyist who had dared to sell a piece to another copyist who etc etc. Mat the Flat Bernd Haegemann b...@symbol4.de schrieb: And why would Weiss use the French tittle for Blackbeard? Pourquoi pas? B. I think that French was quite common in courtly circles, more than English... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Mathias Rösel http://mathiasroesel.livejournal.com http://www.myspace.com/mathiasroesel http://de.geocities.com/mathiasroesel
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
And the writing is terrible, never mind the ill-informed content. Maybe they did that deliberately, so that the Professor would think that the student actually wrote it:-) Back in my professoring days, many of my students could barely form a coherent sentence, much less a grammatical one (a depressingly common occurrence) so a well-written paper was a pretty clear indication of fraud. -Original Message- From: Mayes, Joseph [mailto:ma...@rowan.edu] Sent: Monday, January 12, 2009 10:01 AM To: Stuart Walsh; Lute Net Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? __ From: Stuart Walsh [mailto:s.wa...@ntlworld.com] Sent: Mon 1/12/2009 8:01 AM To: Lute Net Subject: [LUTE] Lutes were the earliest form of guitar developed in the thirteenth century Lute and guitar history - th cutting edge: [1]http://www.megaessays.com/viewpaper/4478.html To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.megaessays.com/viewpaper/4478.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? Lefties rule ;-) !!!
Hi there, I have been a lefty all my life, and as I was originally self-taught on guitar, when I shifted to lute, afetr years of bluesin' and jazzin' around, it was out of the question to change my ways. So lefty I was and lefty I will stay as long as possible... Of course it means specially made instruments, but on the whole, I have never been bothered because of my left-handedness by my subsequent teachers, Hoppy Smith one of them... or perhaps should I say my left-handedness never bothered them : the major drawback was they hhad to use their own lute to show me some tricks and subtleties of phrasing and thing. By the way if Jonathan Rubin was on this list he might also contribute, just like David van Oijen and a couple more. He is a prominent lefty who was in Basel at the same time as Smith and O'Dette, among others... I tend to do quite a bit of continuo work on the (left-handed ;-) theorbo and archlute, and although it is sometimes sort of funny to find an adequate place in the orchestra but I have never been in trouble, or fired, because of that, even in a squad of 4 or more pluckers as it sometimes (too rarely, alas) happens. By he way I also play the viol, and Derek Porteous made an excellent left-handed tenor viol for me a dozen years ago and I tend to specialize on that instrument when playing in consort. The issue of bowing is not so hard or complicated to overcome as long as your partners are happy to play with you ;-) ! Here again, my enduring lefty playing cannot be held reponsible for a single casualty in trios, quartets, quintets or sextets I have been taking part in ;-) Finally, my experience leads me to think that most, if not all, makers (at least lute-makers) will be too happy to make a left-handed instrument if asked to. David Van Edwards, from Norwich, England, made quite a few, including mine and they are top class lutes indeed ! I am looking forward to an 11 course Baroque lute after Frei by him, which never posed the slightest problem when I ordered it from him and discussed some details for decoration and string length etc... He will simply symetrically reverse the plan of the famous Warwick Frei realised by Michael Lowe in the late 60s I think. Didn't seem to be a problem for him at all. Best wishes and a happy new lefty and righty year to all ! Jean-Marie Poirier === 12-01-2009 18:13:16 === Re: left-handed violinning: http://www.captainfiddle.com/playvioleftbook.html GREAT link! -Thanks for sharing. As a teacher, I have often been hard-pressed enough just trying to find a half-decent, affordable lute for my right handers. Lefties? Forget it! -I instantly realized the difficulties of a mere restringing, as so thoroughly well explained by David O. When I worked at a guitar repair/dealer's shop, it was easy enough to set up moderate price level, assembly line guitars for lefties, given the presence of workbenches, specialty tools, and piles of bridge and nut blanks. This still didn't address the internal barring issues which require a true, custom built commissioned instrument. (Barber Harris have some really gorgeous lefty lutes on their website, by the way.) I have worked out ways to drill/re-drill lute bridge holes at home; while not doing a R-L conversion I have had to make two very close holes on either side of a single treble string hole to accommodate a double first (an old vihuela since sold), but that's about the least of the problems for proper left hand play given the action neck angle issues. I'm not certain why we find plucked string luthiers catering more to the whims of left handedness, perhaps because keyboards tend to be such substantial and often multi-user things, and the vintage violin market is much more serious than the vintage lute/guitar/mandolin market amongst serious musicians. With all the difficulties involved with building plucked string instruments, it's even worse for bowed. Carved top- already a far more expensive, labor intensive job, never mind the bass bar. Only the sound post is a quick change. And of course the same neck issues but this time on a rounded, (or at least far more rounded) fingerboard. The one thing Ryan J Thompson didn't address adequately is the problem of backwards bowing in a tight ensemble- quartet players can spread out, but the orchestra? You can poke somebody's eye out with that thing! Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. Aucun virus connu a ce jour par nos services n'a ete detecte. = = = = = = = = = = = = = = = = = = = jmpoiri...@wanadoo.fr http://poirierjm.free.fr 12-01-2009
[BAROQUE-LUTE] Re: Le Fameux Corsair
Quite so, but he is not a corsair, and wouldn't it still be likely to refer to a French one? Anthony Le 12 janv. 09 à 19:08, Bernd Haegemann a écrit : And why would Weiss use the French tittle for Blackbeard? Pourquoi pas? B. I think that French was quite common in courtly circles, more than English... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair, more evidence
I made a google search just on fameu + Corsair, and found that all the references on the first page are to Duguay-Touin (except the fourth on the list which is to Surcouf). No Blackbeard at all. On the second page, all are for Duguay-Touin , except that one that also refers to Jean-Bart. On the third page the same. Ok this is not a proof for the 18th century, but it shows that today, Duguay-Touin is still the fameux Corsaire. The typical text is as follows, Je vais enfin ré-embarqué, cette fois c'est à Lorient que je vais rejoindre mon unité il s'agit de la frégate Duguay- Touin, (le fameux corsaire de St Malo). Elle sort tout juste des chantiers de la DCN. Only on the 5th page, do I find Barbe Noire, but HE is called PIRATE célèbre and then le fameux BARBE NOIRE. ... He is not referred to as fameux CORSAIRE. Furthermore, in the first element that came up in my search, it states that Dugay Trouin's memoires, (about 1720-21) were a best seller in the 18th century. There was even a pirate edition in 1730, of Memoires de monsieur Dugay Trouin, lieutenant général des armées navalles, commandeur de l'ordre militaire de St Louis. http://www.vialibri.net/item_pg/2561745-1725-duguay-trouin-ren%E9- memoires-monsieur-dugay-trouin-lieutenant-g%E9n%E9ral-des.htm This last fact, that the memoirs were written about 1720-21, could correspond to what Markus says about the Weiss piece, which was also written about 1721. The dates are close, so a slight shift for either could make this impossible. Fameaux Corsaire probably was written 1720 or in the beginning of 1721. Anthony Le 12 janv. 09 à 17:43, Anthony Hind a écrit : Duguay-Trouin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair, more evidence
Well again, I was perhaps a little swift. I should have read in more detail the text about the Duguay-Touin manuscript. It was written in 1720 to 21, but the pirated version only came out in 1730, and the official version in 1740. However, that does not mean that some had not read the memoirs before that date. Indeed, how else could there have been a pirated version in 1730? Nevertheless, had the pirated version been a little earlier, we could be more certain that the fameux Corsair was Duguay-Touin. Anthony Le 12 janv. 09 à 21:15, Anthony Hind a écrit : I made a google search just on fameu + Corsair, and found that all the references on the first page are to Duguay-Touin (except the fourth on the list which is to Surcouf). No Blackbeard at all. On the second page, all are for Duguay-Touin , except that one that also refers to Jean-Bart. On the third page the same. Ok this is not a proof for the 18th century, but it shows that today, Duguay-Touin is still the fameux Corsaire. The typical text is as follows, Je vais enfin ré-embarqué, cette fois c'est à Lorient que je vais rejoindre mon unité il s'agit de la frégate Duguay- Touin, (le fameux corsaire de St Malo). Elle sort tout juste des chantiers de la DCN. Only on the 5th page, do I find Barbe Noire, but HE is called PIRATE célèbre and then le fameux BARBE NOIRE. ... He is not referred to as fameux CORSAIRE. Furthermore, in the first element that came up in my search, it states that Dugay Trouin's memoires, (about 1720-21) were a best seller in the 18th century. There was even a pirate edition in 1730, of Memoires de monsieur Dugay Trouin, lieutenant général des armées navalles, commandeur de l'ordre militaire de St Louis. http://www.vialibri.net/item_pg/2561745-1725-duguay-trouin-ren%E9- memoires-monsieur-dugay-trouin-lieutenant-g%E9n%E9ral-des.htm This last fact, that the memoirs were written about 1720-21, could correspond to what Markus says about the Weiss piece, which was also written about 1721. The dates are close, so a slight shift for either could make this impossible. Fameaux Corsaire probably was written 1720 or in the beginning of 1721. Anthony Le 12 janv. 09 à 17:43, Anthony Hind a écrit : Duguay-Trouin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
On Mon, Jan 12, 2009, Mayes, Joseph ma...@rowan.edu said: It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? a few will take the hint from the many 'join now' buttons and see what wikipedia has to say for free before they open their wallets. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? Lefties rule ;-) !!!
Actually, face-to-face lute duets with a lefty should just seem like a mutual, real-life 3D manifestation reading of Italian lute tabulature. I still wonder about bowing in a full size, tightly grouped orchestra- as a left handed archer, shooting in a crowded line can result in bows bumping, with resultant hilarious flight patterns. http://www.lutesandguitars.co.uk/htm/gallery.htm You will notice in this pic from the Barber Harris web site- all righties, no problems. At one time, the standard rules for a typical archery club included the following paen to lateral diversity - Rule No.18. No archer shall be allowed on the grounds if he is known to shoot left-handed from The Witchery of Archery, by Maurice Thompson,1879. Not even allowed into the clubhouse for a martini! -Dan I tend to do quite a bit of continuo work on the (left-handed ;-) theorbo and archlute, and although it is sometimes sort of funny to find an adequate place in the orchestra but I have never been in trouble, or fired, because of that, even in a squad of 4 or more pluckers as it sometimes (too rarely, alas) happens. By he way I also play the viol, and Derek Porteous made an excellent left-handed tenor viol for me a dozen years ago and I tend to specialize on that instrument when playing in consort. The issue of bowing is not so hard or complicated to overcome as long as your partners are happy to play with you ;-) ! Here again, my enduring lefty playing cannot be held reponsible for a single casualty in trios, quartets, quintets or sextets I have been taking part in ;-) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? Lefties rule ;-) !!!
True, Martin ! But by the way, would you refuse an order for a left-handed lute, assuming that you are a droitier ...? Best wishes, amicalement, Jean-Marie === 12-01-2009 22:12:43 === Ah Jean-Marie, mais David est un gaucher! A+ M Jean-Marie Poirier wrote: Hi there, I have been a lefty all my life, and as I was originally self-taught on guitar, when I shifted to lute, afetr years of bluesin' and jazzin' around, it was out of the question to change my ways. So lefty I was and lefty I will stay as long as possible... Of course it means specially made instruments, but on the whole, I have never been bothered because of my left-handedness by my subsequent teachers, Hoppy Smith one of them... or perhaps should I say my left-handedness never bothered them : the major drawback was they hhad to use their own lute to show me some tricks and subtleties of phrasing and thing. By the way if Jonathan Rubin was on this list he might also contribute, just like David van Oijen and a couple more. He is a prominent lefty who was in Basel at the same time as Smith and O'Dette, among others... I tend to do quite a bit of continuo work on the (left-handed ;-) theorbo and archlute, and although it is sometimes sort of funny to find an adequate place in the orchestra but I have never been in trouble, or fired, because of that, even in a squad of 4 or more pluckers as it sometimes (too rarely, alas) happens. By he way I also play the viol, and Derek Porteous made an excellent left-handed tenor viol for me a dozen years ago and I tend to specialize on that instrument when playing in consort. The issue of bowing is not so hard or complicated to overcome as long as your partners are happy to play with you ;-) ! Here again, my enduring lefty playing cannot be held reponsible for a single casualty in trios, quartets, quintets or sextets I have been taking part in ;-) Finally, my experience leads me to think that most, if not all, makers (at least lute-makers) will be too happy to make a left-handed instrument if asked to. David Van Edwards, from Norwich, England, made quite a few, including mine and they are top class lutes indeed ! I am looking forward to an 11 course Baroque lute after Frei by him, which never posed the slightest problem when I ordered it from him and discussed some details for decoration and string length etc... He will simply symetrically reverse the plan of the famous Warwick Frei realised by Michael Lowe in the late 60s I think. Didn't seem to be a problem for him at all. Best wishes and a happy new lefty and righty year to all ! Jean-Marie Poirier === 12-01-2009 18:13:16 === Re: left-handed violinning: http://www.captainfiddle.com/playvioleftbook.html GREAT link! -Thanks for sharing. As a teacher, I have often been hard-pressed enough just trying to find a half-decent, affordable lute for my right handers. Lefties? Forget it! -I instantly realized the difficulties of a mere restringing, as so thoroughly well explained by David O. When I worked at a guitar repair/dealer's shop, it was easy enough to set up moderate price level, assembly line guitars for lefties, given the presence of workbenches, specialty tools, and piles of bridge and nut blanks. This still didn't address the internal barring issues which require a true, custom built commissioned instrument. (Barber Harris have some really gorgeous lefty lutes on their website, by the way.) I have worked out ways to drill/re-drill lute bridge holes at home; while not doing a R-L conversion I have had to make two very close holes on either side of a single treble string hole to accommodate a double first (an old vihuela since sold), but that's about the least of the problems for proper left hand play given the action neck angle issues. I'm not certain why we find plucked string luthiers catering more to the whims of left handedness, perhaps because keyboards tend to be such substantial and often multi-user things, and the vintage violin market is much more serious than the vintage lute/guitar/mandolin market amongst serious musicians. With all the difficulties involved with building plucked string instruments, it's even worse for bowed. Carved top- already a far more expensive, labor intensive job, never mind the bass bar. Only the sound post is a quick change. And of course the same neck issues but this time on a rounded, (or at least far more rounded) fingerboard. The one thing Ryan J Thompson didn't address adequately is the problem of backwards bowing in a tight ensemble- quartet players can spread out, but the orchestra? You can poke somebody's eye out with that thing! Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. Aucun
[LUTE] Re: restring? Lefties rule ;-) !!!
=== 12-01-2009 22:15:42 === Rule No.18. No archer shall be allowed on the grounds if he is known to shoot left-handed from The Witchery of Archery, by Maurice Thompson,1879. Not even allowed into the clubhouse for a martini! -Dan It doesn't worry me, I prefer single malt Scotch whisky anyway ;-) ! Jean-Marie jmpoiri...@wanadoo.fr http://poirierjm.free.fr 12-01-2009 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
Bernd Oh well I am wrong again, however, the dictionnaire historique Robert, defines it as someone who captures enemy merchant vessels. often later confused with filibustier and pirate (it is true), although they are denote quite distinct entities. So it could denote, pirate, but it is not its first meaning, and according to my Google search, the meaning seems once more to be separate? How would Weiss have used it? Can we know? No search on the web with fameu+corsair came up with Black Beard as CORSAIRE (but as pirate), almost all references as fameux corsaire was to Duguay-Touin as said in previous message. The question remains whether Weiss could have heard about Duguay- Touin's exploits through the memoires. Anthony Le 12 janv. 09 à 22:01, Bernd Haegemann a écrit : Quite so, but he is not a corsair, Corsaire. s. m. Pirate, escumeur de mer from Dictionnaire de L'Académie française, 1st Edition (1694) best wishes Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: restring? Lefties rule ;-) !!!
Absolument non - mais il faut concentrer un peu de plus I am indeed a droitier and I would find not being able to play it very frustrating! Best wishes, Martin Jean-Marie Poirier wrote: True, Martin ! But by the way, would you refuse an order for a left-handed lute, assuming that you are a droitier ...? Best wishes, amicalement, Jean-Marie === 12-01-2009 22:12:43 === Ah Jean-Marie, mais David est un gaucher! A+ M Jean-Marie Poirier wrote: Hi there, I have been a lefty all my life, and as I was originally self-taught on guitar, when I shifted to lute, afetr years of bluesin' and jazzin' around, it was out of the question to change my ways. So lefty I was and lefty I will stay as long as possible... Of course it means specially made instruments, but on the whole, I have never been bothered because of my left-handedness by my subsequent teachers, Hoppy Smith one of them... or perhaps should I say my left-handedness never bothered them : the major drawback was they hhad to use their own lute to show me some tricks and subtleties of phrasing and thing. By the way if Jonathan Rubin was on this list he might also contribute, just like David van Oijen and a couple more. He is a prominent lefty who was in Basel at the same time as Smith and O'Dette, among others... I tend to do quite a bit of continuo work on the (left-handed ;-) theorbo and archlute, and although it is sometimes sort of funny to find an adequate place in the orchestra but I have never been in trouble, or fired, because of that, even in a squad of 4 or more pluckers as it sometimes (too rarely, alas) happens. By he way I also play the viol, and Derek Porteous made an excellent left-handed tenor viol for me a dozen years ago and I tend to specialize on that instrument when playing in consort. The issue of bowing is not so hard or complicated to overcome as long as your partners are happy to play with you ;-) ! Here again, my enduring lefty playing cannot be held reponsible for a single casualty in trios, quartets, quintets or sextets I have been taking part in ;-) Finally, my experience leads me to think that most, if not all, makers (at least lute-makers) will be too happy to make a left-handed instrument if asked to. David Van Edwards, from Norwich, England, made quite a few, including mine and they are top class lutes indeed ! I am looking forward to an 11 course Baroque lute after Frei by him, which never posed the slightest problem when I ordered it from him and discussed some details for decoration and string length etc... He will simply symetrically reverse the plan of the famous Warwick Frei realised by Michael Lowe in the late 60s I think. Didn't seem to be a problem for him at all. Best wishes and a happy new lefty and righty year to all ! Jean-Marie Poirier === 12-01-2009 18:13:16 === Re: left-handed violinning: http://www.captainfiddle.com/playvioleftbook.html GREAT link! -Thanks for sharing. As a teacher, I have often been hard-pressed enough just trying to find a half-decent, affordable lute for my right handers. Lefties? Forget it! -I instantly realized the difficulties of a mere restringing, as so thoroughly well explained by David O. When I worked at a guitar repair/dealer's shop, it was easy enough to set up moderate price level, assembly line guitars for lefties, given the presence of workbenches, specialty tools, and piles of bridge and nut blanks. This still didn't address the internal barring issues which require a true, custom built commissioned instrument. (Barber Harris have some really gorgeous lefty lutes on their website, by the way.) I have worked out ways to drill/re-drill lute bridge holes at home; while not doing a R-L conversion I have had to make two very close holes on either side of a single treble string hole to accommodate a double first (an old vihuela since sold), but that's about the least of the problems for proper left hand play given the action neck angle issues. I'm not certain why we find plucked string luthiers catering more to the whims of left handedness, perhaps because keyboards tend to be such substantial and often multi-user things, and the vintage violin market is much more serious than the vintage lute/guitar/mandolin market amongst serious musicians. With all the difficulties involved with building plucked string instruments, it's even worse for bowed. Carved top- already a far more expensive, labor intensive job, never mind the bass bar. Only the sound post is a quick change. And of course the same neck issues but this time on a rounded, (or at least far more rounded) fingerboard. The one thing Ryan J Thompson didn't address adequately is the problem of backwards bowing in a tight ensemble- quartet players can spread out, but the orchestra? You can poke somebody's eye out with that thing! Dan -- To get on or off this list see list information at
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
It can't all be bad though. I searched for lute which turned up many essays, one of which was the novel A confederancy of Dunces by John Kennedy Toole, that I hadn't heard about before, but which looks like a fun promising read for the bedside table containing a tiny lute connection. G. - Original Message - From: dem...@suffolk.lib.ny.us To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 10:00 PM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century On Mon, Jan 12, 2009, Mayes, Joseph ma...@rowan.edu said: It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? a few will take the hint from the many 'join now' buttons and see what wikipedia has to say for free before they open their wallets. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Morley consort lessons
Does anyone have a facsimile copy of the treble viol part for the Morley consort lessons? It's missing from EEBO and various microfilm collections...any leads would be much appreciated! Also, Ian Harwood will be giving a lecture on the mixed consort at the Schola Cantorum in Basel this Thursday at 6pm. As part of the lecture, my group Microcosmos will be making their debut performance. On the following Friday and Saturday Ian will be coaching the group and listeners are very welcome! -- Sam Chapman Oetlingerstrasse 65 4057 Basel (0041) 79 530 39 91 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Le Fameux Corsair
Thank you, Markus. Actually after I posted the question, I found this answer on the Weiss page. Thanks! ed At 04:00 PM 1/12/2009 +0100, Markus Lutz wrote: Dear Edward, Michel Cardin gives two names in his description: http://www.slweiss.de/London_unv/ge_3Description.pdf Of the more than ninety sonatas known to have been composed by Weiss, only The Infidel and no 22 were given poetic titles. As suggested by Douglas Alton Smith, the pirate in question was, in all probability, Blackbeard (Edward Teach), whose life and spectacular death in 1718 were subject to intense journalistic coverage during the lifetime of Weiss. Another candidate would have been René Duguay-Trouin, a privateer of the same period who excelled in swashbuckling bravado of the same sort. Also in the end of the 17th century the first books on pirates appeared: Alexandre Olivier Exquemelin, Histoire des Frères de la Côte (1699) Daniel Defoe, Life, Adventures and Piracies of Captain Singleton (1720) The first one were translated to German and English very soon. Probably Defoe would be too late, as Fameaux Corsaire probably was written 1720 or in the beginning of 1721. Best regards Markus Anthony Hind schrieb: I would think the most famous, and also the last French Corsair would have been Surcouf:$ I found this about him in wikipedia (although I always treat this source with caution, and I have not counterchecked it) Anthony http://en.wikipedia.org/wiki/Corsair Robert Surcouf Robert Surcouf was the last and best known corsair of Saint-Malo. Born in Saint-Malo in 1773, his father was a ship owner and his mother the daughter of a Captain. Ship's boy at 13 and corsair captain at 22 years old, and then very much against his licence for several years attacked ships including those of the French East India Company, or Compagnie Française des Indes. During the French revolution, the convention government disapproved of lettres de course, so Surcouf operated at great personal risk as a pirate against British shipping to India. Surcouf was so successful that he became a popular celebrity in France. After a brief early retirement Surcouf again operated against shipping to the Indes. Surcouf became a ship owner himself and died in Saint-Malo in 1827. There is a statue of him on public display. Le 10 janv. 09 à 05:35, Edward Martin a écrit : The sonata in F major by SL Weiss in the London MS has a strange title. The work is also included in the Dresden MS, but is not entitled Le Fameux Corsair. Does anyone have information as to the identity of the famous pirate ? ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de No virus found in this incoming message. Checked by AVG - http://www.avg.com Version: 8.0.176 / Virus Database: 270.10.6/1887 - Release Date: 1/11/2009 5:57 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202
[LUTE] Re: Morley consort lessons
Thanks Diego, this is an interesting resource. The consort pieces seem to be more like arrangements than exact transcriptions of the original versions though. All the best, Sam 2009/1/13 Diego Cantalupi [1]cantal...@tin.it Hi Sam, perhaps you already know that here you can find a modern edition: [2]http://sca.uwaterloo.ca/Hendricks/ Ciao, Diego -- Sam Chapman Oetlingerstrasse 65 4057 Basel (0041) 79 530 39 91 -- References 1. mailto:cantal...@tin.it 2. http://sca.uwaterloo.ca/Hendricks/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Morley consort lessons
On Mon, Jan 12, 2009, Sam Chapman manchap...@gmail.com said: Does anyone have a facsimile copy of the treble viol part for the Morley consort lessons? It's missing from EEBO and various microfilm collections...any leads would be much appreciated! According to the 1959 Sydney Beck edition a copy of the treble viol part book is held by the NYPL (1611 edition). they have an online catalog at http://nypl.org searching catnyp on 'consort lessons' will give you hits on eebo and the microfilms held by the library, one of which is for the treble viol part book. If you only want the music, you may find a used copy of the sydney beck edition (1959 C F Peters, for the NYPL) thru alibris or another of the antiquarian sources. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Morley consort lessons
On Mon, Jan 12, 2009, Sam Chapman manchap...@gmail.com said: The consort pieces seem to be more like arrangements than exact transcriptions of the original versions though. Hard to say, the Sydney Beck edition reconstructed missing parts and may have ornamented repeats in others; 'Go From my Window' is more ornate in the SB than the SH; SH clearly is avoiding wholesale recreation of parts, and also is not publishing in tablature for the plucked instruments as many of the players working from his music are wind-only ensembles. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
Amazing! This makes me think of a collection of essay faux pas collected by a teacher from Minnesota, which he compiled into a short history of the world. It was hilarious, including such tidbits as a particular saint who died when he was cannonized, and how Magellan circumcised the world with a hundred foot clipper :) Date sent: Tue, 13 Jan 2009 00:06:51 +0100 To: Lute Net lute@cs.dartmouth.edu From: G. Crona kalei...@gmail.com Subject:[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century It can't all be bad though. I searched for lute which turned up many essays, one of which was the novel A confederancy of Dunces by John Kennedy Toole, that I hadn't heard about before, but which looks like a fun promising read for the bedside table containing a tiny lute connection. G. - Original Message - From: dem...@suffolk.lib.ny.us To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 10:00 PM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century On Mon, Jan 12, 2009, Mayes, Joseph ma...@rowan.edu said: It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? a few will take the hint from the many 'join now' buttons and see what wikipedia has to say for free before they open their wallets. -- Dana Emery 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: 7.5.552 / Virus Database: 270.10.6/1888 - Release Date: 1/12/2009 7:04 AM Tom Draughon Heartistry Music http://www.heartistry.com 714 9th Avenue West Ashland, WI 54806 715-682-9362
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
I have the book and tried to read it, but when the main characted went to a local music shop for a set of lute strings I've realized the book was phony, and that was the end of it. RT - Original Message - From: G. Crona kalei...@gmail.com To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 6:06 PM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century It can't all be bad though. I searched for lute which turned up many essays, one of which was the novel A confederancy of Dunces by John Kennedy Toole, that I hadn't heard about before, but which looks like a fun promising read for the bedside table containing a tiny lute connection. G. - Original Message - From: dem...@suffolk.lib.ny.us To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 10:00 PM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century On Mon, Jan 12, 2009, Mayes, Joseph ma...@rowan.edu said: It takes only one of these execrable essays to set the pace of scholarship back decades. I wonder how many people take this at face value? a few will take the hint from the many 'join now' buttons and see what wikipedia has to say for free before they open their wallets. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
Phony it may be, but the characters seem quite eccentric and fun. I've already lol'd in the first chapter. I'll give it a chance. Can't be that bad though - got the P-prize... G. - Original Message - From: Roman Turovsky r.turov...@verizon.net To: Lutelist lute@cs.dartmouth.edu Sent: Tuesday, January 13, 2009 1:30 AM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century I have the book and tried to read it, but when the main characted went to a local music shop for a set of lute strings I've realized the book was phony, and that was the end of it. RT - Original Message - From: G. Crona kalei...@gmail.com To: Lute Net lute@cs.dartmouth.edu Sent: Monday, January 12, 2009 6:06 PM Subject: [LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century It can't all be bad though. I searched for lute which turned up many essays, one of which was the novel A confederancy of Dunces by John Kennedy Toole, that I hadn't heard about before, but which looks like a fun promising read for the bedside table containing a tiny lute connection. G. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
In New Orleans? You've gotta be kiddin'. RT From: howard posner howardpos...@ca.rr.com I have the book and tried to read it, but when the main characted went to a local music shop for a set of lute strings I've realized the book was phony, and that was the end of it. It was possible in the past to get a prepackaged set of lute strings at music stores. I done seen them my own self, but I wasn't curious enough to inquire further. La Bella or D'Addario, I think. I couldn't tell you whether such things still exist. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
La bella lute strings...wow that brings back nightmares from the 70's incidentally they are still available: [1]http://www.juststrings.com/labellalute.html Bruno Cognyl-Fournier On Mon, Jan 12, 2009 at 7:38 PM, howard posner [2]howardpos...@ca.rr.com wrote: On Jan 12, 2009, at 4:30 PM, Roman Turovsky wrote: I have the book and tried to read it, but when the main characted went to a local music shop for a set of lute strings I've realized the book was phony, and that was the end of it. It was possible in the past to get a prepackaged set of lute strings at music stores. I done seen them my own self, but I wasn't curious enough to inquire further. La Bella or D'Addario, I think. I couldn't tell you whether such things still exist. -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Bruno Cognyl-Fournier Luthiste, etc Estavel Ensemble de musique ancienne [4]www.estavel.org -- References 1. http://www.juststrings.com/labellalute.html 2. mailto:howardpos...@ca.rr.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://www.estavel.org/
[LUTE] Re: Software comparison
Wow--this guy really missed a lot with Wayne's tab: such as ornaments, right and left hand fingerings, beaming. Whoever compiled this spreadsheet, if you are reading, please check out the TAB manual at Wayne's site and see what you've missed. Regards, Leonard Williams To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
Indeed, they do, and one can get them online: http://www.juststrings.com/labellalute.html howard posner howardpos...@ca.rr.com 1/12/2009 7:38 PM On Jan 12, 2009, at 4:30 PM, Roman Turovsky wrote: I have the book and tried to read it, but when the main characted went to a local music shop for a set of lute strings I've realized the book was phony, and that was the end of it. It was possible in the past to get a prepackaged set of lute strings at music stores. I done seen them my own self, but I wasn't curious enough to inquire further. La Bella or D'Addario, I think. I couldn't tell you whether such things still exist. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes were the earliest form of guitar developed in the thirteenth century
But wait! There's more! http://www.nrinstruments.demon.co.uk/LuSt.html ...and for a lousy £400.09 you can get a 10-course English set with a doubled first! Indeed, they do, and one can get them online: http://www.juststrings.com/labellalute.html -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
