[LUTE] Belgium - concerts in spring
I added 15+ concerts to our agenda http://www.lute-academy.be/xlagenda327-nl/index.php best regards Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
On Jan 18, 2015, at 5:37 AM, Martin Shepherd wrote: > The issue of voice-leading is important in the identification of which pieces > may or may not have used octave stringing, but it is not a simple matter of > the octaves being constantly present or absent - a good player can emphasize > the octave or minimize its effect, while continuing to play both strings of > the course. Not just good players. Some of us mediocre muckers with day jobs do it. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
On Jan 18, 2015, at 4:14 AM, Monica Hall wrote: > But you will still hear the low G on the 6th course and the falling 7th in > the bass (at least I will) Try playing and singing it. In context, with the middle G completing the run, and singer’s line doing what it does, and the chord beginning another moving line on the first course, you won't hear it that way. The low G sounds more like another voice entering, rather like a contrabass in an orchestra playing a simplified version of the bass part. That said, if it’s played with a unison sixth course, you probably won’t hear it and say “OMG! a linear seventh!” I brought it up because someone asked what sort of things might be taken as octave stringing. A composer's completing that run on the sixth course instead of the fourth (when the chord could just as easily have used both) is evidence of octave stringing. Whether it’s conclusive or compelling is another story. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Authorial Control (was: 16th century tuning and stringing)
- Original Message - From: "Gary R. Boye" To: Sent: Sunday, January 18, 2015 2:56 PM Subject: [LUTE] Authorial Control (was: 16th century tuning and stringing) All, I'll throw in one word-of-warning about this subject: We automatically fall into a modern (20th-century) concept where the "author" has absolute control of everything in the book: he (or she, on occasion) writes the music, writes the preface that accompanies it, organizes it all, and takes it to the printer in a fair copy ready to be set. But it rarely happened that way. Very often the printer would have as much to do with the organization and contents of a printed book than the person named as the author. Sometimes I wonder if the composer of the music had anything to do with the text in a book and occasionally the music itself. Sometimes the printer names himself as author when he clearly is not. This is not to dismiss the textual instructions in all period books out of hand. Just to warn that the contents of a printed book in our period of study can have multiple authors and varying levels of authorial control. If the preface says: "Put octaves on all your basses," don't automatically assume that came from the composer of the music in the book. Look at the context and other evidence that a real "author" was responsible for both text and music. The preface may have been little more than a convention supplied by the printer to make the book more marketable. Gary -- Gary R. Boye, Ph.D. Professor and Music Librarian Appalachian State University That is so so true - and even more so when you start looking at the information in some (Italian) baroque guitar books! I won't stray further off topic than that. Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
Dear Monica, My point was that you don't need to play the strings of a course separately - no need to "eliminate" anything. The secret is in the blend between the lower and upper octaves, which by the way is better if the two strings are roughly the same tension, rather than the typical modern practice of having the upper octave at a lower tension. Players who can do this are indeed few and far between ;) Martin On 18/01/2015 15:33, Monica Hall wrote: - Original Message - From: "Martin Shepherd" To: Sent: Sunday, January 18, 2015 1:37 PM Subject: [LUTE] Re: 16th century tuning and stringing A further thought on the issue of evidence from tablature concerning octave stringing: The issue of voice-leading is important in the identification of which pieces may or may not have used octave stringing, but it is not a simple matter of the octaves being constantly present or absent - a good player can emphasize the octave or minimize its effect, while continuing to play both strings of the course. Octaves introduce some ambiguity into the voice-leading, allowing some voices to resolve correctly using the upper octave of a bass course, while being subtle enough that one does not hear constant octave-doubling where it is not required. Martin In my experience players who can do this a few and far between...On the lute the bourdon is on the thumb side of the course which makes it difficult to eliminate. It is the other way round on the b-guitar of course. Yours cynically Monica --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com
[LUTE] Authorial Control (was: 16th century tuning and stringing)
All, I'll throw in one word-of-warning about this subject: We automatically fall into a modern (20th-century) concept where the "author" has absolute control of everything in the book: he (or she, on occasion) writes the music, writes the preface that accompanies it, organizes it all, and takes it to the printer in a fair copy ready to be set. But it rarely happened that way. Very often the printer would have as much to do with the organization and contents of a printed book than the person named as the author. Sometimes I wonder if the composer of the music had anything to do with the text in a book and occasionally the music itself. Sometimes the printer names himself as author when he clearly is not. This is not to dismiss the textual instructions in all period books out of hand. Just to warn that the contents of a printed book in our period of study can have multiple authors and varying levels of authorial control. If the preface says: "Put octaves on all your basses," don't automatically assume that came from the composer of the music in the book. Look at the context and other evidence that a real "author" was responsible for both text and music. The preface may have been little more than a convention supplied by the printer to make the book more marketable. Gary -- Gary R. Boye, Ph.D. Professor and Music Librarian Appalachian State University To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
- Original Message - From: "Martin Shepherd" To: Sent: Sunday, January 18, 2015 1:37 PM Subject: [LUTE] Re: 16th century tuning and stringing A further thought on the issue of evidence from tablature concerning octave stringing: The issue of voice-leading is important in the identification of which pieces may or may not have used octave stringing, but it is not a simple matter of the octaves being constantly present or absent - a good player can emphasize the octave or minimize its effect, while continuing to play both strings of the course. Octaves introduce some ambiguity into the voice-leading, allowing some voices to resolve correctly using the upper octave of a bass course, while being subtle enough that one does not hear constant octave-doubling where it is not required. Martin In my experience players who can do this a few and far between...On the lute the bourdon is on the thumb side of the course which makes it difficult to eliminate. It is the other way round on the b-guitar of course. Yours cynically Monica --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
A further thought on the issue of evidence from tablature concerning octave stringing: The issue of voice-leading is important in the identification of which pieces may or may not have used octave stringing, but it is not a simple matter of the octaves being constantly present or absent - a good player can emphasize the octave or minimize its effect, while continuing to play both strings of the course. Octaves introduce some ambiguity into the voice-leading, allowing some voices to resolve correctly using the upper octave of a bass course, while being subtle enough that one does not hear constant octave-doubling where it is not required. Martin --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
Just to add to the list: Hans Judenkunig (1523) gives tuning instructions which specify octaves on courses 4-6. A facsimile is available online from the Bayerische Staatsbibliothek and there is a translation of the instructions in the Lute Society Journal 1972. Martin --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 16th century tuning and stringing
On Jan 17, 2015, at 1:03 AM, Monica Hall wrote: Unless I have misunderstood what you are saying. Hard to tell. I’m saying that it appears to be evidence for unison stringing on the upper five courses, and octaves on the sixth. But you will still hear the low G on the 6th course and the falling 7th in the bass (at least I will) - unless you are proposing to try and leave out the bourdon and only play the treble string. Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] two new items on our second hand page
a 9 course arciliuto and a 10 course lute: http://www.lute-academy.be/advertenties/advertenties-en.php To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Fronimo corrected and reworked Lute Intabulations with better layouts -26
Hi, Here is the list of new lute intabulations, or corrected and reworked intabulations in Fronimo, with better layouts on IMSLP. I recommend to exchange the old music files with my new ones! Aichinger, Gregor O sacrum convivium 2 Sopranos, Tenor & 2 Lutes x http://imslp.org/wiki/O_sacrum_convivium_(Aichinger,_Gregor) Byrd, William If Women Could be Fair Sopran & 2 Lutes http://imslp.org/wiki/If_Women_Could_be_Fair_(Byrd,_William) Naich, UbertDe moins riens prima parte 2 Sopranos & 2 Lutes http://imslp.org/wiki/De_moins_riens_(Naich,_Hubert) Naich, UbertDe moins riens secondo parte2 Sopranos & 2 Lutes http://imslp.org/wiki/De_moins_riens_(Naich,_Hubert) Massaino, Tiburzio Mentre vaga Angioletta (prima parte)2 Sopranos & 2 Lutes http://imslp.org/wiki/Mentre_vaga_Angioletta_(prima_parte)_(Massaino,_Tiburtio)#IMSLP281417 Marenzio, Luca Liquide Perle (Terzi) 2 Altos & 2 Lutes http://imslp.org/wiki/Liquide_perle_Amor_da_gli_occhi_sparse_(Marenzio,_Luca)#IMSLP283723 Gastoldi, Giovanni Giacomo Danzavan liet' al suon della sampogna 2 Sopranos & 2 Lutes http://imslp.org/wiki/Danzavan_liet'_al_suon_della_sampogna_(Gastoldi,_Giovanni_Giacomo) Gagliano, Marco da Aura in tanto lasciva 2 Sopranos & 2 Lutes http://imslp.org/wiki/Su_la_sponda_del_Tebro_humida_(Gagliano,_Marco_da) Giovannelli, Ruggiero Se da tuoi lacci sciolti2 Sopranos & 2 Lutes http://imslp.org/wiki/Se_da_tuoi_lacci_sciolti_(Giovannelli,_Ruggiero)#IMSLP282966 Del Mel, RinaldoFelice primavera2 Sopranos & 2 Lutes http://imslp.org/wiki/Felice_primavera_(Mel,_Rinaldo_del) Del Mel, RinaldoO bella età dell'oro2 Sopranos & 2 Lutes http://imslp.org/wiki/O_bella_età_dell'oro_(Mel,_Rinaldo_del) Se'l dolce bacio2 Sopranos & 2 Lutes http://imslp.org/wiki/Se'l_dolce_bacio_(Dalla_Casa,_Girolamo) Anton http://lute-ensemble-tabulatures.npage.de/ -- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Is high-gloss quieter?
Use Stand Oil - see previous communications on it in the archives of this forum MH __ From: Herbert Ward To: lute@cs.dartmouth.edu Sent: Saturday, 17 January 2015, 19:47 Subject: [LUTE] Is high-gloss quieter? In looking at the Formby line of tung oil finishes, I see both low-gloss and high-gloss versions. For example [1]http://amazon.com/gp/product/B000BZZ4ZU/ref=oh_aui_detailpage_o00_s0 0?ie=UTF8&psc=1 Despite "tung oil" in the name, the label's fine print calls the product a "varnish". What does this mean? Are these finishes suitable for lute soundboards? Would the high-gloss version make less noise when the right hand fingers slide around on the soundboard incident to playing? 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://amazon.com/gp/product/B000BZZ4ZU/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
