Re: URL of that guy who makes the kits?
Yep, Colin makes the Travelute. they come in all sizes, and although strange to hold at first, they are indeed very close in sound to a lute. . There is no pegbox, rather the pegs are on othe other end of the instrument (right side), just like one of those headless electric guitars..other than that and the rather rectangular flat back shape, have all the other features of al lute; the neck feels the same, the frets are gut, etcquite handy to go on vacation. I made one for myself and found it quite useful. Colin will be putting up a website eventually, (I'm supposed to set it up, but still waiting for the information he wants to put on it), I will let the lute list know the URL once it's up. Bruno Cognyl-Fournier Montreal, Canada www.estavel.org Miles Dempster wrote: >Colin Everetts email is: [EMAIL PROTECTED] > >Yes. He makes all sorts of travellers lutes and variants which do the >job very successfully. > >Miles Dempster > > >On Friday, September 26, 2003, at 06:07 PM, Leonard Williams wrote: > > > >>Wasn't Colin Everett from Canada (sorry, I no longer have the e-mail >>address) making some sort of "travellers' lutes": flat backed, easy to >>pack, >>but more lutish than what is described by this kit. >> >>Leonard Williams >> [] >> (_) >>~ >> >> >>- Original Message - >>From: "Ed Durbrow" <[EMAIL PROTECTED]> >>To: "Sir David Vavreck" <[EMAIL PROTECTED]>; "lute list" >><[EMAIL PROTECTED]> >>Sent: Friday, September 26, 2003 10:33 AM >>Subject: Re: URL of that guy who makes the kits? >> >> >> >> >>>>Ed - >>>> >>>>http://www.musikit.com/ >>>> >>>>Yes, it's a flatback. I do think I'ii have to get one >>>>or two of his other kits, though. >>>> >>>> >>>I was thinking that for $350, it might be nice to have a flatback >>>lute as a kind of knockabout that I wouldn't mind taking everywhere. >>>I might even get more practicing done. However looking at the >>>picture, I don't know if it is doable. It just wouldn't feel like a >>>lute with a bridge with a saddle in it and metal frets, but if I >>>could get something with the same scale and spacing as my regular Ren >>>lute but flatback and pretty durable, it would be cool. There was >>>someone who made backpacking lutes if my memory serves me. Maybe >>>someone remembers who it ws and has an URL? >>> >>>cheers, >>>-- >>>Ed Durbrow >>>Saitama, Japan >>>http://www9.plala.or.jp/edurbrow/ >>> >>> >>> >>> >> >> > >-- > > > > > --
Re: Non-glue construction.
Why would you want to build a lute without glue? how would you assemble the ribs? The idea sounds crazy if you ask me.and I see no benefit, even if it were possible Bruno Herbert Ward wrote: >Is it possible to build a good lute using screws instead of glue? > >Aluminum screws could be used to reduce the "dead weight" effect. > >The screws could be "locked" in with a tiny drop of glue at the head. > > 1. How much of the gluing could be replaced with screws? > 2. How would the sound suffer? > 3. What are the main reasons to use glue instead of screws? > > > > > > > > >
Re: Non-glue construction.
I believe Charles Besnainou in France has built a lute out of carbon fiber, or was it graphite.? Bruno Timothy Motz wrote: >Actually, a carbon fiber shell (which is sometimes used for >high-performance sailboats and aircraft) is made up of several layers >of carbon fiber fabric bonded together with something like epoxy. It's >like fiberglas, but with carbon fibers instead of glass fibers. So you >would end up using a lot of glue :) > >Tim > > >On Monday, October 27, 2003, at 08:29 PM, Christopher Schaub wrote: > > > >>I would like to see someone use modern technology and make a lute from >>something like carbon fiber. The tolerences would be very tight and >>permit >>almost perfect intonation with synthetic strings. There was a really >>nice >>electric guitar called the Steinberger that my college roomate played >>-- made >>from carbon fiber and it was very, very in tune -- even way up the >>neck and >>with small intervals. Thirds were very possible to tune at very low >>pitches. >>Very nice for experimenting with alternate tunings. Anyway, you >>wouldn't need >>any glue to build a carbon fiber lute! >> >>--- "S. Walsh" <[EMAIL PROTECTED]> wrote: >> >> >>>On Mon, 27 Oct 2003 16:47:15 -0800, Bruno Cognyl-Fournier >>><[EMAIL PROTECTED]> wrote: >>> >>> >>> >>>>Why would you want to build a lute without glue? how would you >>>>assemble the ribs? The idea sounds crazy if you ask me.and I >>>>see no >>>>benefit, even if it were possible >>>> >>>>Bruno >>>> >>>>Herbert Ward wrote: >>>> >>>> >>>> >>>>>Is it possible to build a good lute using screws instead of glue? >>>>> >>>>>Aluminum screws could be used to reduce the "dead weight" effect. >>>>> >>>>>The screws could be "locked" in with a tiny drop of glue at the >>>>>head. >>>>> >>>>> 1. How much of the gluing could be replaced with screws? >>>>> 2. How would the sound suffer? >>>>> 3. What are the main reasons to use glue instead of screws? >>>>> >>>>> >>>>> >>>>> >>>Many years ago Eph Segerman proposed a method of lute-making without >>>glue. >>>He was thinking of (early?)medieval lute making and (if I remember >>>correctly) he somehow thought that there were no glues around at that >>>time. So he gave an elaborate account of how a lute could be made - >>>not >>>with screws - but with wedges. >>> >>>He published this masterpiece of ingenuity in a little newsletter, >>>FomRHI. >>>In the next edition someone >>>pointed out that there was lots of evidence for the use of glue at >>>that >>>period in history and Ephraim very graciously bid adieu to his >>>conjecture. >>> >>> >>> >>> >>= >>web: http://www.christopherschaub.com >>email: [EMAIL PROTECTED] >> >> >> >> > > > > > > > --
[LUTE] Re: how to amplify lute?
contact microphone on the bridge works fine for me. Bruno 2015-01-27 16:22 GMT-05:00 Tobiah <[1]t...@tobiah.org>: On 01/27/2015 01:06 PM, Omer Katzir wrote: Not permanently, just for one night. Which option do you think will be the best? Using a mic didn't worked out with my guitar (performing in the same place, same setting, only with lute this time) I predict that the pickup that you linked to is going to sound 'tinny', emphasizing the midrange and sounding something like playing over the telephone. What was it about the microphone that didn't work out for you in the past?A Was it feedback problems?A You will want to use a decent cardioid condenser rather close to the instrument. I can't imagine an omni or dynamic mic doing the job, but a good condenser is the best I've found for classical guitar where natural sound is the goal. If feedback is the problem you could try mixing the mic with a contact pickup for some of the best of both worlds. Tobiah I have an option to buy those pickups with a clip, but I'm not sure they'll work. (link attached) Ideas are recommendations are welcome. [2]http://www.music-center.co.il/p/1125/%D7%A4%D7%99%D7%A7-%D7%90%D7 %A4-%D7%9C%D7%A7%D7%9C%D7%90%D7%A1%D7%99%D7%AA-power-beat-pu-35 To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:t...@tobiah.org 2. http://www.music-center.co.il/p/1125/%D7%A4%D7%99%D7%A7-%D7%90%D7%A4-%D7%9C%D7%A7%D7%9C%D7%90%D7%A1%D7%99%D7%AA-power-beat-pu-35 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: from Lute to kanun
nope not me either, the link to facebook appears to be broken 2015-02-09 11:19 GMT-05:00 Chris Barker <[1]csbarker...@att.net>: This link will not open on my computer. Chris -Original Message- From: [2]lute-...@cs.dartmouth.edu [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf Of Rob MacKillop Sent: Monday, February 09, 2015 1:45 AM To: Lute Subject: [LUTE] Re: from Lute to kanun A A Zamboni as you've never heard him before... A A Rob A A Hello A A I am a young tunisian musician, a Kanun player , I am passioned with A A baroc music and especially Lute music, in this link I present you an A A example of my playing method which consist to adapt baroc music works A A to be played on the Kanun. I think that my idea is a first. A A I would like to have your opinion and advice. A A The piece here joined is the first and last movement of the Lute Sonata A A IV composed by Giovanni Zambonni A A [1][4]https://www.facebook.com/video.php?vd5539035482348A A A Thank you. A A Best Regards. A A Mohamed Amine KalaA- A A -- References A A 1. [5]https://www.facebook.com/video.php?vd5539035482348%20 To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:csbarker...@att.net 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:lute-...@cs.dartmouth.edu 4. https://www.facebook.com/video.php?vd5539035482348A 5. https://www.facebook.com/video.php?vd5539035482348%20 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: from Lute to kanun
would it be this gentleman? [1]https://www.facebook.com/Musikanoun?ref=ts&fref=ts ? 2015-02-09 2:44 GMT-05:00 Rob MacKillop <[2]robmackil...@gmail.com>: A A Zamboni as you've never heard him before... A A Rob A A Hello A A I am a young tunisian musician, a Kanun player , I am passioned with A A baroc music and especially Lute music, in this link I present you an A A example of my playing method which consist to adapt baroc music works A A to be played on the Kanun. I think that my idea is a first. A A I would like to have your opinion and advice. A A The piece here joined is the first and last movement of the Lute Sonata A A IV composed by Giovanni Zambonni A A [1][3]https://www.facebook.com/video.php?vd5539035482348A A A Thank you. A A Best Regards. A A Mohamed Amine KalaA- A A -- References A A 1. [4]https://www.facebook.com/video.php?vd5539035482348%20 To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://www.facebook.com/Musikanoun?ref=ts&fref=ts 2. mailto:robmackil...@gmail.com 3. https://www.facebook.com/video.php?vd5539035482348A 4. https://www.facebook.com/video.php?vd5539035482348%20 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Silly question...
not that I know of, most arabic music, except Andalucian Algerian and Morrocan music uses quarter tones. A lot of arabic music is transmitted orally. the one that is written uses regular notation with special flat and sharps characters to indicate the quarter tones. Here is a site for traditional Andalucian Algerian music (in french) , this music is transmitted orally, but some scholars have started doing transcriptions in regular notation, but bear in mind that the transcriptions are only an approximation as each region and musician has their own way of interpreting the music. [1]http://yafil.free.fr/partition.htm I also recommend this site for traditional Arabic music [2]http://www.classicalarabicmusic.com/Um%20Kalthoum's%20Songs%20Notati ons2.htm Bruno 2015-04-10 7:09 GMT-04:00 Messina Calogero <[3]messina.calog...@free.fr>: A A Thanks Ron, but I meant the kind of music played still today on the Oud A A De : Ron Andrico [mailto:[4]praelu...@hotmail.com] A A Envoye : vendredi 10 avril 2015 13:03 A A A : Messina Calogero; [5]lute@cs.dartmouth.edu A A Objet : RE: [LUTE] Silly question... A A Caldibi Castigliano, the first piece in Dalza,1508, is apparently an A A Arabic tune. A A RA A A > Date: Fri, 10 Apr 2015 12:21:51 +0200 A A > To: [1][6]lute@cs.dartmouth.edu A A > From: [2][7]messina.calog...@free.fr A A > Subject: [LUTE] Silly question... A A > A A > Bonjour `a tous, A A > Anyone know if transcriptions/adaptations for luth of some important A A "Arab" A A > Oud music were made ? A A > Best regards A A > Lino A A > A A > A A > A A > A A > A A > --- A A > Ce courrier electronique ne contient aucun virus ou logiciel A A malveillant parce que la protection avast! Antivirus est active. A A > [3][8]http://www.avast.com A A > A A > A A > A A > A A > To get on or off this list see list information at A A > [4][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html A A A __ A A [5][avast-mail-stamp.png] A A Ce courrier electronique ne contient aucun virus ou logiciel A A malveillant parce que la protection [6]Antivirus avast! est active. A A -- References A A 1. mailto:[10]lute@cs.dartmouth.edu A A 2. mailto:[11]messina.calog...@free.fr A A 3. [12]http://www.avast.com/ A A 4. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html A A 5. [14]http://www.avast.com/ A A 6. [15]http://www.avast.com/ -- References 1. http://yafil.free.fr/partition.htm 2. http://www.classicalarabicmusic.com/Um%20Kalthoum's%20Songs%20Notations2.htm 3. mailto:messina.calog...@free.fr 4. mailto:praelu...@hotmail.com 5. mailto:lute@cs.dartmouth.edu 6. mailto:lute@cs.dartmouth.edu 7. mailto:messina.calog...@free.fr 8. http://www.avast.com/ 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 10. mailto:lute@cs.dartmouth.edu 11. mailto:messina.calog...@free.fr 12. http://www.avast.com/ 13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 14. http://www.avast.com/ 15. http://www.avast.com/
[LUTE] Re: Lute-learning resources for 10-year old?
ask Luca Manassero, who son has been playing lute from a very early age I believe.A I think Luca is on the Lute mailing list, A he is on facebook otherwise. Bruno 2015-04-13 7:56 GMT-04:00 Rob MacKillop <[1]robmackil...@gmail.com>: Thanks, Joshua. I've since learned of these resources: [2]http://www.sf-luth.org/index.php?Partitions/Les_Petites_Muses [3]http://www.sf-luth.org/Album_SFL/petites_muses/slides/petit%20ane .html Rob [4]www.robmackillop.net > On 13 Apr 2015, at 12:30, Joshua Burkholder <[5]burkholder.jos...@gmail.com> wrote: > > Hi Rob, > > I have never seen them in person, but I believe that the French Lute society as a series of books for young students, though they'll of course be in French. But even if she doesn't know French they may be worth looking into for the exercises. > > Regards > > Joshua > > >> On Apr 13, 2015, at 13:19, Rob MacKillop <[6]robmackil...@gmail.com> wrote: >> >>A I was sent this from a friend of a friend: >>A 'Hi folks. Our 10yo has been given the loan of a lute by friends of >>A ours. She has basic guitar knowledge and music reading ability. Can >>A anyone recommend any kid-friendly resources for learning to play? >>A Thanks in advance.' >>A I can't think of anything suitable, but I do recall seeing photos of >>A kids playing the lute - so does anyone have or know of suitable >>A material? >>A Rob MacKillop >> >>A -- >> >> >> To get on or off this list see list information at >> [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. mailto:robmackil...@gmail.com 2. http://www.sf-luth.org/index.php?Partitions/Les_Petites_Muses 3. http://www.sf-luth.org/Album_SFL/petites_muses/slides/petit%20ane.html 4. http://www.robmackillop.net/ 5. mailto:burkholder.jos...@gmail.com 6. mailto:robmackil...@gmail.com 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorba
--089e013a14d8ce89b90518a341b9 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Interesting.. could it be a second bridge to attach the Diapasons? -- Bruno Cognyl-Fournier [image: Images intégrées 1] www.estavel.org 2015-06-16 10:10 GMT-04:00 Bruno Figueiredo : >aIs there another bridge behind the actual bridge? There is a piece of >something that looks like a bridge.a > >2015-06-16 8:19 GMT-03:00 Andreas Schlegel <[1]lute.cor...@sunrise.ch>: > > Here's a nice picture: > [2]http://www.christies.com/lotfinder/paintings/neapolitan-school-17 > th-century-portrait-of-a-5916349-details.aspx?from=searchresults&int > ObjectIDY16349&sidIfbc3d2-7de9-403b-a31a-94f4bc307181 > Not a modern theorbo. An old tiorba with double courses on the petit > jeu. > Enjoy! > Andreas > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >-- >Bruno Figueiredo >A >Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o >historicamente informada no alaA-ode e teorba. >Doutor em PrA!ticas InterpretativasA pela >Universidade Federal do Estado do Rio de Janeiro. > >-- > > References > >1. mailto:lute.cor...@sunrise.ch >2. > http://www.christies.com/lotfinder/paintings/neapolitan-school-17th-century-portrait-of-a-5916349-details.aspx?from=searchresults&intObjectIDY16349&sid%C3%8Ffbc3d2-7de9-403b-a31a-94f4bc307181 >3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > --089e013a14d8ce89b90518a341b9 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Interesting.. could it be a second bridge to attach the Diapasons?--  Bruno Cognyl-Fournier    http://www.estavel.org/"; target="_blank">www.estavel.org  2015-06-16 10:10 GMT-04:00 Bruno Figueiredo <mailto:bruno.l...@gmail.com"; target="_blank">bruno.l...@gmail.com>:  aIs there another bridge behind the actual bridge? There is a piece of   something that looks like a bridge.a   2015-06-16 8:19 GMT-03:00 Andreas Schlegel <[1]mailto:lute.cor...@sunrise.ch";>lute.cor...@sunrise.ch>:    Here's a nice picture:    [2]http://www.christies.com/lotfinder/paintings/neapolitan-school-17"; rel="noreferrer" target="_blank">http://www.christies.com/lotfinder/paintings/neapolitan-school-17    th-century-portrait-of-a-5916349-details.aspx?from=searchresults&int    ObjectIDY16349&sidIfbc3d2-7de9-403b-a31a-94f4bc307181    Not a modern theorbo. An old tiorba with double courses on the petit    jeu.    Enjoy!    Andreas    To get on or off this list see list information at    [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html   --   Bruno Figueiredo   A   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o   historicamente informada no alaA-ode e teorba.   Doutor em PrA!ticas InterpretativasA pela   Universidade Federal do Estado do Rio de Janeiro.   -- References   1. mailto:mailto:lute.cor...@sunrise.ch";>lute.cor...@sunrise.ch   2. http://www.christies.com/lotfinder/paintings/neapolitan-school-17th-century-portrait-of-a-5916349-details.aspx?from=searchresults&intObjectIDY16349&sid%C3%8Ffbc3d2-7de9-403b-a31a-94f4bc307181"; rel="noreferrer" target="_blank">http://www.christies.com/lotfinder/paintings/neapolitan-school-17th-century-portrait-of-a-5916349-details.aspx?from=searchresults&intObjectIDY16349&sid%C3%8Ffbc3d2-7de9-403b-a31a-94f4bc307181   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --089e013a14d8ce89b90518a341b9-- --
[LUTE] Re: Verdelot
london pro musica edition is excellent
Sent from Samsung Mobile
Original message
From: jmpoirier2
Date:2015-06-30 04:23 (GMT-05:00)
To: Hector Sequera , "lute-cs.dartmouth.edu"
Subject: [LUTE] Re: Verdelot
Excellent edition by the way !
Best to all,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Hector Sequera
Date : 30/06/2015 09:35 (GMT+01:00)
A : "lute-cs.dartmouth.edu"
Objet : [LUTE] Re: Verdelot
Dear Benjamin,
London Pro Musica has an edition of 22 of the madrigals (the ones
intabulated in Venice, 1536). Just search their catalogue for the
following:
MA3 PHILIPPE VERDELOT, Twenty-two Madrigals, for four voices or
instruments. This volume contains all the pieces that appeared
arranged
for lute in the Intavolatura de li Madrigali di Verdelotto da
cantare
et sonare nel lauto (Venice, 1536), which is published complete in
our
RM3. Verdelot was much respected during his lifetime for his ability
to
express the different moods of his texts, and so it is no surprise
to
find here an outstanding collection of highly varied pieces. Score
only
-L-8.50
RM3 Intavolatura de li Madrigali di Verdelotto (1536) for voice and
lute. This important collection contains twenty-two of Verdelot's
most
exquisite madrigals arranged fastidiously for voice and lute. It is
fact the only surviving publication of its kind, and fills a huge
hole
in the repertoire for voice and lute. The original four-part
versions
of these madrigals can be found in our MA3; as the two volumes have
been edited in conjunction, it is possible to use the lute part with
the ensemble versions. Score only -L-10.50
All best,
Hector
> On 30 Jun 2015, at 08:20, BENJAMIN NARVEY
wrote:
>
> Greetings one, greetings all,
>
> I am wondering if there may not perhaps be a good edition of
Verdelot
> madrigals with intabulations for lute?
> I have just been contacted for a project, but I don't know the
lute
> sources (if any) of this repertoire well at all.
> Any thoughts?
> All best wishes,
> Benjamin
>
> --
>
> [1]www.luthiste.com
> t +33 (0) 6 71 79 98 98
>
> --
>
> References
>
> 1. http://www.luthiste.com/
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Blessed be that Maid Marie
[1]https://books.google.ca/books?id=CIkD5rhdva0C&pg=PA40&lpg=PA40&dq=Bl essed+Be+That+Maid+Mary+ballet+lute+book&source=bl&ots=Kl4flDYorI&sig=_ 5p-H-Hp8KmuU0TaIo3ajTl6lRw&hl=fr&sa=X&ved=0ahUKEwjEtMWcyLjJAhVGJh4KHVKh DWAQ6AEIOTAF#v=onepage&q=Blessed%20Be%20That%20Maid%20Mary%20ballet%20l ute%20book&f=false 2015-11-30 10:53 GMT-05:00 Edward Martin <[2]edvihuel...@gmail.com>: Dear ones, I have been asked by a professional choir to play along with a Christmas Carol, Blessed be that Maid Marie.There are modern choral arrangements of this piece, and they all attribute that it is from the William Ballet Lute Book.Here is a link to the book in digital format, from a library in Dublin, of the Ballet Lute Book: [1][3]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf I looked through it, and I could not find a piece with this title, and it is also not listed in Julia Craig-McFeely's thesis, and she doesn't list any piece by that name in any English source.I looked at the pices in the book, and could not find any of the tablatures that seem to match the melody of this piece. Allan Alexander did a beautiful adaptation years ago with variations (published in the LSA November 2004 Holiday newsletter, page 44), but I am unable to find the original. Does this piece exist in the book under a different title? Any assistance is appreciated! Happy luting, ed -- References 1. [4]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://books.google.ca/books?id=CIkD5rhdva0C&pg=PA40&lpg=PA40&dq=Blessed+Be+That+Maid+Mary+ballet+lute+book&source=bl&ots=Kl4flDYorI&sig=_5p-H-Hp8KmuU0TaIo3ajTl6lRw&hl=fr&sa=X&ved=0ahUKEwjEtMWcyLjJAhVGJh4KHVKhDWAQ6AEIOTAF#v=onepage&q=Blessed%20Be%20That%20Maid%20Mary%20ballet%20lute%20book&f=false 2. mailto:edvihuel...@gmail.com 3. http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf 4. http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] theorbo tuning experiment
Dear lutenetters, Has anyone ever experimented tuning a theorbo like a guitar with an E top string, no re-entrant tuning? to facilitate the player with reading a continuo part from music notation? this would essentially give the same tessitura as a regular theorbo and allow to play the melody on the top string instead of mucking around on the 3 rd string... what would be the top string gauge suggestion for a 74 cm string length? Bruno -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: theorbo tuning experiment
Hi Ed The point is for some of us who came from a guitar background back in the 70's. I can play from music notation in E tuning, G tuning, and C tuning ( oud ) but for the life of me I can't wrap my head around playing in A tuning and having to play the melody on the 3 rd string... just a thought.. though, if anyone else has tried it, I am talking of course for Continuo regards Bruno 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong <[1]edward.y...@gmail.com>: Dear Bruno, What would be the point of such a tuning? Some of us don't come from a classical guitar background and this would be pointless to us, not to mention making all the solo music unplayable - no campanellas etc. Edward Yong II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I.. HA| litterA| electronicA| ab iPhono missA| sunt. aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea This e-mail was sent from my iPhone. > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier <[2]fournier...@gmail.com> wrote: > >Dear lutenetters, >Has anyone ever experimented tuning a theorbo like a guitar with an E >top string, no re-entrant tuning? to facilitate the player with reading >a continuo part from music notation? this would essentially give the >same tessitura as a regular theorbo and allow to play the melody on the >top string instead of mucking around on the 3 rd string... >what would be the top string gauge suggestion for a 74 cm string >length? >Bruno > >-- > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:edward.y...@gmail.com 2. mailto:fournier...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: theorbo tuning experiment
--089e015389920cb87b052962271f Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hi Ed, I did say in my initial post, in order to facilitate Continuo playing, and yes coming from a guitar background.. where reading from notation is ok for me in E and in G, also in C. but not in A or with re-entrant tuning.. Campanella is a nice effect but not a must in continuo.. anyone else ? What do you think Ed Martin? -- Bruno Cognyl-Fournier [image: Images intégrées 1] 2016-01-15 11:30 GMT-05:00 Bruno Cognyl-Fournier : >Hi Ed >The point is for some of us who came from a guitar background back in >the 70's. >I can play from music notation in E tuning, G tuning, and C tuning ( >oud ) but for the life of me I can't wrap my head around playing in A >tuning and having to play the melody on the 3 rd string... just a >thought.. though, >if anyone else has tried it, I am talking of course for Continuo >regards >Bruno > >2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong ><[1]edward.y...@gmail.com>: > > Dear Bruno, > What would be the point of such a tuning? Some of us don't come from > a classical guitar background and this would be pointless to us, not > to mention making all the solo music unplayable - no campanellas > etc. > Edward Yong > > II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2 > IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I.. > HA| litterA| electronicA| ab iPhono missA| sunt. > aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea > This e-mail was sent from my iPhone. > >> On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier ><[2]fournier...@gmail.com> wrote: >> >>Dear lutenetters, >>Has anyone ever experimented tuning a theorbo like a guitar with >an E >>top string, no re-entrant tuning? to facilitate the player with >reading >>a continuo part from music notation? this would essentially give >the >>same tessitura as a regular theorbo and allow to play the melody >on the >>top string instead of mucking around on the 3 rd string... >>what would be the top string gauge suggestion for a 74 cm string >>length? >>Bruno >> >>-- >> >> >> To get on or off this list see list information at >> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >-- > > References > >1. mailto:edward.y...@gmail.com >2. mailto:fournier...@gmail.com >3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > --089e015389920cb87b052962271f Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hi Ed,I did say in my initial post, in order to facilitate Continuo playing, and yes coming from a guitar background.. where reading from notation is ok for me in E and in G, also in C. but not in A or with re-entrant tuning.. Campanella is a nice effect but not a must in continuo..anyone else ? What do you think Ed Martin?--  Bruno Cognyl-Fournier    2016-01-15 11:30 GMT-05:00 Bruno Cognyl-Fournier <mailto:fournier...@gmail.com"; target="_blank">fournier...@gmail.com>:  Hi Ed   The point is for some of us who came from a guitar background back in   the 70's.   I can play from music notation in E tuning, G tuning, and C tuning (   oud ) but for the life of me I can't wrap my head around playing in A   tuning and having to play the melody on the 3 rd string... just a   thought.. though,   if anyone else has tried it, I am talking of course for Continuo   regards   Bruno   2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong   <[1]mailto:edward.y...@gmail.com";>edward.y...@gmail.com>:    Dear Bruno,    What would be the point of such a tuning? Some of us don't come from    a classical guitar background and this would be pointless to us, not    to mention making all the solo music unplayable - no campanellas    etc.    Edward Yong    ====    II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2    IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..    HA| litterA| electronicA| ab iPhono missA| sunt.    aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea    This e-mail was sent from my iPhone.   > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier   <[2]mailto:fournier...@gmail.com";>fournier...@gmail.com> wrote:   >   >  Dear lutenetters,   >  Has anyone ever experimente
[LUTE] Re: theorbo tuning experiment
Hello all obviously many are not understanding the point of my question, and yes some of us did not learn the lute directly without coming from guitar originally., People of my generation in the 70's did not have the chance of starting directly on the lute back then. In any case, its an experiment,... of course learning to read in that tuning is ideal, but when you already read in various tunings , it becomes a bit more of a challenge to re-adjust all the time. bruno 2016-01-15 11:58 GMT-05:00 David van Ooijen <[1]davidvanooi...@gmail.com>: Replacing the second string with a high octave is what some continuo players do. I remember some 25 years ago having to replace one particular theorbo player for just one concert in a series. I received a cassette tape with a recording of one of the earlier concerts so I knew more or less what was expected of me. I worked hard to get all those high lines while still playing full bass and harmony. It turned out later that the guy had his 2nd string an octave up ... It did sound good. After that experience I did as well on occasion, but often found myself playing guitar in stead of theorbo. Another instrument. Re-entrant theorbo is fun, worth the trouble of learning. David *** David van Ooijen [1][2]davidvanooi...@gmail.com [2][3]www.davidvanooijen.nl *** On 15 January 2016 at 17:30, Bruno Cognyl-Fournier <[3][4]fournier...@gmail.com> wrote: Hi Ed The point is for some of us who came from a guitar background back in the 70's. I can play from music notation in E tuning, G tuning, and C tuning ( oud ) but for the life of me I can't wrap my head around playing in A tuning and having to play the melody on the 3 rd string... just a thought.. though, if anyone else has tried it, I am talking of course for Continuo regards Bruno 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong <[1][4][5]edward.y...@gmail.com>: Dear Bruno, What would be the point of such a tuning? Some of us don't come from a classical guitar background and this would be pointless to us, not to mention making all the solo music unplayable - no campanellas etc. Edward Yong II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I.. HA| litterA| electronicA| ab iPhono missA| sunt. aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea This e-mail was sent from my iPhone. > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier <[2][5][6]fournier...@gmail.com> wrote: > > Dear lutenetters, > Has anyone ever experimented tuning a theorbo like a guitar with an E > top string, no re-entrant tuning? to facilitate the player with reading > a continuo part from music notation? this would essentially give the > same tessitura as a regular theorbo and allow to play the melody on the > top string instead of mucking around on the 3 rd string... > what would be the top string gauge suggestion for a 74 cm string > length? > Bruno > > -- > > > To get on or off this list see list information at > [3][6][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[7][8]edward.y...@gmail.com 2. mailto:[8][9]fournier...@gmail.com 3. [9][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[11]davidvanooi...@gmail.com 2. [12]http://www.davidvanooijen.nl/ 3. mailto:[13]fournier...@gmail.com 4. mailto:[14]edward.y...@gmail.com 5. mailto:[15]fournier...@gmail.com 6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. mailto:[17]edward.y...@gmail.com 8. mailto:[18]fournier...@gmail.com 9. [19]http://www.cs.dartm
[LUTE] Re: theorbo tuning experiment
Yes thx Arto, I know the tuning 2016-01-15 12:12 GMT-05:00 Arto Wikla <[1]wi...@cs.dartmouth.edu>: And by the way, all the 6 open strings of an a theorbo, A-d-g-h-e-a, should be familiar to guitarists, too. Only the order is little different... ;-) Arto On 15/01/16 18:58, David van Ooijen wrote: Replacing the second string with a high octave is what some continuo players do. I remember some 25 years ago having to replace one particular theorbo player for just one concert in a series. I received a cassette tape with a recording of one of the earlier concerts so I knew more or less what was expected of me. I worked hard to get all those high lines while still playing full bass and harmony. It turned out later that the guy had his 2nd string an octave up ... It did sound good. After that experience I did as well on occasion, but often found myself playing guitar in stead of theorbo. Another instrument. Re-entrant theorbo is fun, worth the trouble of learning. David *** David van Ooijen [1][2]davidvanooi...@gmail.com [2][3]www.davidvanooijen.nl *** On 15 January 2016 at 17:30, Bruno Cognyl-Fournier <[3][4]fournier...@gmail.com> wrote: Hi Ed The point is for some of us who came from a guitar background back in the 70's. I can play from music notation in E tuning, G tuning, and C tuning ( oud ) but for the life of me I can't wrap my head around playing in A tuning and having to play the melody on the 3 rd string... just a thought.. though, if anyone else has tried it, I am talking of course for Continuo regards Bruno 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong <[1][4][5]edward.y...@gmail.com>: Dear Bruno, What would be the point of such a tuning? Some of us don't come from a classical guitar background and this would be pointless to us, not to mention making all the solo music unplayable - no campanellas etc. Edward Yong II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I.. HA| litterA| electronicA| ab iPhono missA| sunt. aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea This e-mail was sent from my iPhone. > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier <[2][5][6]fournier...@gmail.com> wrote: > > Dear lutenetters, > Has anyone ever experimented tuning a theorbo like a guitar with an E > top string, no re-entrant tuning? to facilitate the player with reading > a continuo part from music notation? this would essentially give the > same tessitura as a regular theorbo and allow to play the melody on the > top string instead of mucking around on the 3 rd string... > what would be the top string gauge suggestion for a 74 cm string > length? > Bruno > > -- > > > To get on or off this list see list information at > [3][6][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[7][8]edward.y...@gmail.com 2. mailto:[8][9]fournier...@gmail.com 3. [9][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[11]davidvanooi...@gmail.com 2. [12]http://www.davidvanooijen.nl/ 3. mailto:[13]fournier...@gmail.com 4. mailto:[14]edward.y...@gmail.com 5. mailto:[15]fournier...@gmail.com 6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. mailto:[17]edward.y...@gmail.com 8. mailto:[18]fournier...@gmail.com 9. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:wi...@cs.dartmouth.edu 2. mailto:davidvanooi...@gmail.com 3. http://www.davidvanooijen.nl/
[LUTE] Re: Pachenbel suite for theorbo
found it on Wayne's page, .. doesn't seem to be for Therbo though.. pitch is too high.. appears to be for Baroque lute.. or is it in Renaissance Tuning.. ? 2016-02-23 11:33 GMT-05:00 [1]jo.lued...@t-online.de <[2]jo.lued...@t-online.de>: Dear Anthony, Nuremberg, Stadtbibliothek, Autogr. 2353b. If you search for "Pachelbel L'amant", you should find a tablature edition on XXXdartmouth.edu (Wayne Cripps' page). Uli plays a concert tomorrow evening in the Germanische Nationalmuseum in Nuremberg with the Hamburger Ratsmusik, but with en entirely different program focus (Dowland in Nuremberg). Regards, Joachim -Original-Nachricht- Betreff: [LUTE] Pachenbel suite for theorbo Datum: 2016-02-23T17:15:00+0100 Von: "Anthony Hart" <[3]anthony.hart1...@gmail.com> An: "lute" <[4]lute@cs.dartmouth.edu> I have just discovered a youtube video of a suite by Pachenbel played on theorbo by Ulrich Wedermeier. Does anyone know where I can find this work? [1][5]https://www.youtube.com/watch?v=fPGmylInxic -- many thanks Anthony __ Anthony Hart MSc, LLCM,ALCM. Musicologist and Independent Researcher Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA Tel: [6]+356 27014791; Mob: [7]+356 9944 9552. e-mail: [2][8]resea...@antoninoreggio.com; web: [3][9]www.monsignor-reggio.com NEW Publications: EDIZIONE ANTONINO REGGIO - [4][10]www.edizionear.com for information and special offer -- References 1. [11]https://www.youtube.com/watch?v=fPGmylInxic 2. mailto:[12]resea...@antoninoreggio.com 3. [13]http://www.monsignor-reggio.com/ 4. [14]http://www.edizionear.com/ To get on or off this list see list information at [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:jo.lued...@t-online.de 2. mailto:jo.lued...@t-online.de 3. mailto:anthony.hart1...@gmail.com 4. mailto:lute@cs.dartmouth.edu 5. https://www.youtube.com/watch?v=fPGmylInxic 6. tel:%2B356%2027014791 7. tel:%2B356%209944%209552 8. mailto:resea...@antoninoreggio.com 9. http://www.monsignor-reggio.com/ 10. http://www.edizionear.com/ 11. https://www.youtube.com/watch?v=fPGmylInxic 12. mailto:resea...@antoninoreggio.com 13. http://www.monsignor-reggio.com/ 14. http://www.edizionear.com/ 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: insinuations
Anton
let me say that I admire your work very much. Of course playing ftom
notation is always good to be able to do and something I have taught to
the few students I have had in 40 years, however one can usually do
that on one or two sets of tunings..playing in trios and quartets with
g, a, c , and d lutes become more tricky for the average guy. your
work is fantastic and allows players to be exposed to more than just
lute repertoire. I will be retiring ftom my job in a few years and
intend on teaching lute to beginners . your material will be of great
use.
one wish..set some medieval pieces especially the trecento stuff...
regards
Bruno Cognyl-Fournier
Montreal
Sent from Samsung Mobile
Original message
From: Anton Hoeger
Date:2016-08-03 03:24 (GMT-05:00)
To: List Lutelist
Subject: [LUTE] insinuations
>
> Hi everyone,
>
> Martin Hogson wrote:
>
> Dear Anton Hoger,
>
> Have you ever considered learning to play from figured bass? This
would save you much mundane work making these unnecessary
transcriptions/arrangements.
>
> MH
>
> Ja natuerlich! Aber was haben meine Renaissance Intabulations mit
Dimunitions mit einem figured bass zu tun?
> Das eine hat doch mit dem anderen nichts zu tun.
> Ich habe bisher nur sehr wenig Fruehbarocke Generalbassstuecke
bearbeitet. Ausserdem waeren doch genau diese Ausarbeitungen fuer den
Interpreten interessant. Als Anregung, Alternativen oder sogar als
fertige Ausfuehrun..
> Meine 10 downloads und Tausend Danksagungen zeigen ein anderes
Bild, als Dein ...making these unnecessary transcriptions!!!
> Bitte unterlasse doch diese Unverschaemtheiten, wenn Du keine Ahnung
hast.
>
> Anton
>
> Yes of course! But how do you bring my Renaissance Intabulations with
Dimunitions in relation with a figured bass?
> These one has nothing to do with the other one!
> On the other side I have so far only very few Earlybaroque figured
Bass edited pieces. Exactly this Arrangements may be interesting for
the interprets. As a suggestion or such ways.
> My 10 downloads and thousand credits show a different image than
Your: ...making these unnecessary transcriptions!.
> Please stop these insinuations, if you have no idea.
>
>
> Anton
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute repair Washington DC area
yamaha made lutes? wow .. I never knew in the 40 years I've been playing.. Bruno 2016-09-22 16:25 GMT-04:00 sterling price <[1]spiffys84...@cs.dartmouth.edu>: Umm---why don't you just tighten the frets yourself? That's a very basic thing every lute player should know how to do. Its like being able to tie your shoes as a kid-- SP __ From: John Mardinly <[2]john.mardi...@asu.edu> To: "[3]cyndi...@netscape.net" <[4]cyndi...@netscape.net> Cc: "[5]lute@cs.dartmouth.edu" <[6]lute@cs.dartmouth.edu> Sent: Thursday, September 22, 2016 1:49 PM Subject: [LUTE] Re: lute repair Washington DC area I had my lute undergo extensive restoration last year by Mel Wong. [1][1][7]http://www.blackbirdstringarts.com/about/ Just ship by UPS. Mel says he has never had a problem shipping by UPS. A. John Mardinly, Ph.D., P.E. Retired Principal Materials Nanoanalysis Engineer EMail: [2][2]john.mardi...@asu.edu Cell: [3]408-921-3253 (does not work in TEM labs) But don't call the labI won't be there! On Sep 22, 2016, at 12:24 PM, [4][3][8]cyndi...@netscape.net wrote: Hello I have an 8 course Yamaha lute, about 30 years old. Have not been able to play it lately because frets are loose, strings won't stay on etc. I would like it to have professional attention. I have called around. Not many folks around here have repaired lutes. They would have to send it out. Recommendations? Thanks Cyndi -- To get on or off this list see list information at [5][4][9]https://urldefense.proofpoint.com/v2/url?u=http- 3A__www.cs.dartmo uth .edu_-7Ewbc_lute-2Dadmin_index.html&d=CwIBAg&c= AGbYxfJbXK67KfXyGqyv2Eji z41FqQuZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3N w-61ygSK-LNEQ&m=-kR VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y&s= XCdz7Lc5ORbh2jgwRIEPaDLMkbmX uiPzBFq_MPf5sU8&e= References 1. [5][10]http://www.blackbirdstringarts.com/about/ 2. mailto:[6]john.mardi...@asu.edu 3. tel:[11]408-921-3253 4. mailto:[7][12]cyndi...@netscape.net 5. [8][13]https://urldefense.proofpoint.com/v2/url?u=http- 3A__www.cs.dartmouth .edu_-7Ewbc_lute-2Dadmin_index.html&d=CwIBAg&c= AGbYxfJbXK67KfXyGqyv2Eji z41FqQuZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3N w-61ygSK-LNEQ&m=-kR VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y&s= XCdz7Lc5ORbh2jgwRIEPaDLMkbmX uiPzBFq_MPf5sU8&e= -- References 1. [14]http://www.blackbirdstringarts.com/about/ 2. mailto:[15]john.mardi...@asu.edu 3. mailto:[16]cyndi...@netscape.net 4. [17]https://urldefense.proofpoint. com/v2/url?u=http-3A__www.cs.dartmouth 5. [18]http://www.blackbirdstringarts.com/about/ 6. mailto:[19]john.mardi...@asu.edu 7. mailto:[20]cyndi...@netscape.net 8. [21]https://urldefense.proofpoint. com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute- 2Dadmin_index.html&d=CwIBAg&c=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQ uZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ&m=- kRVCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y&s= XCdz7Lc5ORbh2jgwRIEPaDLMkbmXuiPzBFq_MPf5sU8&e= -- References 1. mailto:spiffys84...@cs.dartmouth.edu 2. mailto:john.mardi...@asu.edu 3. mailto:cyndi...@netscape.net 4. mailto:cyndi...@netscape.net 5. mailto:lute@cs.dartmouth.edu 6. mailto:lute@cs.dartmouth.edu 7. http://www.blackbirdstringarts.com/about/ 8. mailto:cyndi...@netscape.net 9. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo 10. http://www.blackbirdstringarts.com/about/ 11. tel:408-921-3253 12. mailto:cyndi...@netscape.net 13. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth 14. http://www.blackbirdstringarts.com/about/ 15. mailto:john.mardi...@asu.edu 16. mailto:cyndi...@netscape.net 17. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth 18. http://www.blackbirdstringarts.com/about/ 19. mailto:john.mardi...@asu.edu 20. mailto:cyndi...@netscape.net 21. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=CwIBAg&c=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ&m=-kRVCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y&s=XCdz7Lc5ORbh2jgwRIEPaDLMkbmXuiPzBFq_MPf5sU8&e=
[LUTE] Re: Aquila Loaded Nylgut sustain
and my guess is that these strings may last forever.. Bruno 2017-01-09 11:56 GMT-05:00 Dan Winheld <[1]dwinh...@lmi.net>: Fascinating thread! I am delighted that after over 40 years in the lute "business" (even mostly amateur) that good bass strings may be emerging as an obtainable, affordable, predictable, and PRACTICAL reality. Mimmo Peruffo is to be congratulated for all his work over all these years. Now, can anyone tell me if the new basses are now available in the U.S? Thank you all- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:dwinh...@lmi.net 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Aquila Loaded Nylgut sustain
David Morales' cuerdas Pulsadas in Spain, has them, David Morales who is on this lute list should be able to help you out. Mimmo is out of stock already. Bruno 2017-01-09 12:02 GMT-05:00 Bruno Cognyl-Fournier <[1]fournier...@gmail.com>: and my guess is that these strings may last forever.. Bruno 2017-01-09 11:56 GMT-05:00 Dan Winheld <[2]dwinh...@lmi.net>: Fascinating thread! I am delighted that after over 40 years in the lute "business" (even mostly amateur) that good bass strings may be emerging as an obtainable, affordable, predictable, and PRACTICAL reality. Mimmo Peruffo is to be congratulated for all his work over all these years. Now, can anyone tell me if the new basses are now available in the U.S? Thank you all- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:fournier...@gmail.com 2. mailto:dwinh...@lmi.net 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Aquila Loaded Nylgut sustain
Dear Mimmo Don,t worry, I think we all appreciate your efforts, and are all excited about the new strings. Yes it has started another debate on strings and sound quality, vibration , resonnance, etc.. what it boils down to however , is what kind of sound pleases each of us individually. I for one have never been satisfied with wound strings, except the gut core wound strings from Savarez. and then again in my taste.. only when the strings are old and have been on the instrument for a long time... I am eager to receive my order from Cuerdas Pulsadas ( I sent you a private message about my order with you). Certainly with your new CD strings, it gives us yet another choice. thank you again Bruno 2017-01-09 12:33 GMT-05:00 Mimmo Peruffo <[1]mperu...@aquilacorde.com>: maybe it is better to give you guys a few more informations: yes, I am out of stock due to some problems: the first one is that the plastic blend nd copper powder changes some behaviours. This is common when one exstrude plastics. I worked hard to understand why in these 15 days and then when I was able to realize why, guess that? The extruder broke the gear pump! heck. Just yesterday (yes, Sunday) I was in condition to find another way that is working pretty good but... my co-worker at the extruder right now has flu! another stopah ah. Do not worry: tomorrow I will do this job alone. their lifetime? I think that they last forever. I am sorry, the sound do not last 20 seconds From: [1]Bruno Cognyl-Fournier Sent: Monday, January 09, 2017 6:02 PM To: [2]Dan Winheld Cc: [3]Anthony Hind ; [4]Matthew Daillie ; [5]Mimmo Peruffo ; [6]Rob MacKillop ; [7]Lute List Subject: Re: [LUTE] Re: Aquila Loaded Nylgut sustain and my guess is that these strings may last forever.. Bruno 2017-01-09 11:56 GMT-05:00 Dan Winheld <[8][2]dwinh...@lmi.net>: Fascinating thread! I am delighted that after over 40 years in the lute "business" (even mostly amateur) that good bass strings may be emerging as an obtainable, affordable, predictable, and PRACTICAL reality. Mimmo Peruffo is to be congratulated for all his work over all these years. Now, can anyone tell me if the new basses are now available in the U.S? Thank you all- To get on or off this list see list information at [9][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[4]fournier...@gmail.com 2. mailto:[5]dwinh...@lmi.net 3. mailto:[6]agno3ph...@cs.dartmouth.edu 4. mailto:[7]dail...@club-internet.fr 5. mailto:[8]mperu...@aquilacorde.com 6. mailto:[9]robmackil...@gmail.com 7. mailto:[10]lute@cs.dartmouth.edu 8. mailto:[11]dwinh...@lmi.net 9. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:mperu...@aquilacorde.com 2. mailto:dwinh...@lmi.net 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. mailto:fournier...@gmail.com 5. mailto:dwinh...@lmi.net 6. mailto:agno3ph...@cs.dartmouth.edu 7. mailto:dail...@club-internet.fr 8. mailto:mperu...@aquilacorde.com 9. mailto:robmackil...@gmail.com 10. mailto:lute@cs.dartmouth.edu 11. mailto:dwinh...@lmi.net 12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] basses in octaves
Dear Collective wisdom, I have been tuning my 5 and 6th course in octaves for years, with wound strings and gut or nylgut. recently I bought the CD loaded strings from Mimmo and am slowly getting used to them. I have thus replaced the fundamental with CD loaded, while keeping my octave strings in gut or nylgut, this on two different lutes. I have noticed that the octaves are horribly out of tune as I go up the neck, especially by the time you get to the 7th fret. I realize I rarely have to play up there, but it bothers me. Am trying to figure out what the problem is.. would it be a mismatch of tension? or would it be the Loaded CD strings, that as some of you have probably found to be very elastic. I have never had this issue with wound string/gut combinations. I will be testing each string individually to check which one goes out of tune as you move up the scale, but I suspect it is the Loaded string that is giving me the problem. any comments? Bruno -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: basses in octaves
yes it is the first time I use non wound strings on my basses. I have
used gut octaves for 30 years and have never had the problem, at least
not to that extent. I understand the action can be part of the
problem, although. I will test the pitch on the strings taken
individually, however I suspect only one of the two strings is off
pitch as you go up, and I've never had to match the tension exactly for
both strings, although it could be part of the problem as well.
Bruno
2017-02-28 15:06 GMT-05:00 Dan Winheld <[1]dwinh...@lmi.net>:
Bruno- Is this the first time you have ever used non-overspun
basses? That may explain your problem rather than the loaded CD
string specifically. It's a totally different feel, whether the
thick basses are actual gut of one sort or another or a synthetic
that mimics a gut bass string. (I have used plain high twist,
loaded, catlines, Gamut "Pistoys", Gimp, and Savarez KF.) All fret
more or less the same and can work with their octave strings ;
assuming trueness proper tension, matching tension to the octave,
and of course proper action/neck/fret. Too high action (either nut
or bridge- neck angle) or too thick frets can all affect this- e.g.,
very thick frets- (mostly we fret thicker & single, not the same as
historically done) -and too much finger pressure will distort the
intonation- obviously the diff. diameter strings will respond
differently.
Dan
On 2/28/2017 10:31 AM, Arto Wikla wrote:
Hi Bruno
No problems on my archlute's 6th and 7th. CDs and NNG octaves.
Arto
On 28/02/17 19:56, Bruno Cognyl-Fournier wrote:
Dear Collective wisdom,
I have been tuning my 5 and 6th course in octaves for years, with
wound
strings and gut or nylgut.
recently I bought the CD loaded strings from Mimmo and am slowly
getting used to them. I have thus replaced the fundamental with
CD
loaded, while keeping my octave strings in gut or nylgut, this on
two
different lutes.
I have noticed that the octaves are horribly out of tune as I go
up the
neck, especially by the time you get to the 7th fret.I
realize I
rarely have to play up there, but it bothers me.Am trying to
figure
out what the problem is.. would it be a mismatch of tension? or
would
it be the Loaded CD strings, that as some of you have probably
found to
be very elastic.I have never had this issue with wound
string/gut
combinations.
I will be testing each string individually to check which one
goes out
of tune as you move up the scale, but I suspect it is the Loaded
string
that is giving me the problem.
any comments?
Bruno
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[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:dwinh...@lmi.net
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: basses in octaves
Hello all
So I tested the strings individually ,making sure first that the frets
were adjusted for one string properly... and conclusion is that the
loaded CD nylgut goes flat as you go up the scale on the neck...by the
time I get to the 7th fret I no longer have a perfect fifth. My gut
string stays in tune all the way up, and so does the regular nylgut.
I have a feeling part of the problem is the elasticity of the loaded
nylgut. Mimmo has to investigate this .
Bruno
2017-02-28 15:21 GMT-05:00 Bruno Cognyl-Fournier
<[1]fournier...@gmail.com>:
yes it is the first time I use non wound strings on my basses. I
have
used gut octaves for 30 years and have never had the problem,
at least
not to that extent.I understand the action can be part of the
problem, although.I will test the pitch on the strings taken
individually, however I suspect only one of the two strings is
off
pitch as you go up, and I've never had to match the tension
exactly for
both strings, although it could be part of the problem as well.
Bruno
2017-02-28 15:06 GMT-05:00 Dan Winheld <[1][2]dwinh...@lmi.net>:
Bruno- Is this the first time you have ever used non-overspun
basses? That may explain your problem rather than the loaded CD
string specifically.It's a totally different feel, whether the
thick basses are actual gut of one sort or another or a synthetic
that mimics a gut bass string. (I have used plain high twist,
loaded, catlines, Gamut "Pistoys", Gimp, and Savarez KF.)All
fret
more or less the same and can work with their octave strings ;
assuming trueness proper tension, matching tension to the octave,
and of course proper action/neck/fret. Too high action (either nut
or bridge- neck angle) or too thick frets can all affect this-
e.g.,
very thick frets- (mostly we fret thicker & single, not the same
as
historically done) -and too much finger pressure will distort the
intonation- obviously the diff. diameter strings will respond
differently.
Dan
On 2/28/2017 10:31 AM, Arto Wikla wrote:
Hi Bruno
No problems on my archlute's 6th and 7th. CDs and NNG octaves.
Arto
On 28/02/17 19:56, Bruno Cognyl-Fournier wrote:
Dear Collective wisdom,
I have been tuning my 5 and 6th course in octaves for years,
with
wound
strings and gut or nylgut.
recently I bought the CD loaded strings from Mimmo and am
slowly
getting used to them. I have thus replaced the fundamental with
CD
loaded, while keeping my octave strings in gut or nylgut, this
on
two
different lutes.
I have noticed that the octaves are horribly out of tune as I
go
up the
neck, especially by the time you get to the 7th fret. I
realize I
rarely have to play up there, but it bothers me. Am trying
to
figure
out what the problem is.. would it be a mismatch of tension? or
would
it be the Loaded CD strings, that as some of you have probably
found to
be very elastic. I have never had this issue with wound
string/gut
combinations.
I will be testing each string individually to check which one
goes out
of tune as you move up the scale, but I suspect it is the
Loaded
string
that is giving me the problem.
any comments?
Bruno
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[2][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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References
1. mailto:[4]dwinh...@lmi.net
2. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:fournier...@gmail.com
2. mailto:dwinh...@lmi.net
3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
4. mailto:dwinh...@lmi.net
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: basses in octaves
Guys, This discussion is not about whether one should use pythagorean or equal temperament, it is about two strings in octavbles on the same course not being in tune together, by the time I've reached 5th fret, and the dissonance increases as I go beyond 5th fret. the only change I have done on both my G lutes, (57 cm and 60 cm tuned in 440hz), is to replace the wound string with CD loaded. The calculation was at 3 Kg tension for the fundamental CD loaded on the 5th course, and I ended up with a 115 CD, as neither 110 nor 112 was available, and frankly we are still eyeballing it since I have had no clear answer as to what the real tension was on those strings is. My octave remained as is, 5.0 gut, hence 2.5 kg.. (same gauge as my 2nd course) I guess I could try a thicker octave ( if I can find the right gauge in my SOFRACOB supply of strings..) as for the 6th course I have the same problem I have used SOFRACOB gut for 30 + years in combination with wound basses and never had the problem, I recently switched to nylgut and wound with no problem either, only when I put on the CD did I start having the problem. I suspect as mentioned before, that the real culprit is the elasticity of the CD and that I have not stretched it enough, I do agree that when I tune it up, it requires much more turning of the peg, as it doesn't instantly respond upwards. although stretching the string onto the peg prior to tuning is a bit of a challenge.. I will try turning it around to get it to stretch the other way as well, perhaps this will even out the string on its entire length. As I recall also from the numerous conversations about the CD, the recommendation was to go with a higher tension in order to have a less bouncy and rubber band effect. Mimmo, I do realize that this is a work in progress, and I do appreciate your offer to replace the strings, but before we do this I think the exact tension of the new strings should be calculated, and also compare the amount of stretch to standard nylgut or gut. The feedback I sent is not a criticism in any way on your work, I hope you understand that, but rather trying to understand what is happening and see how we can remedy the situation. Overall I find the strings interesting in sound, and I do like them more than wound strings. As I mentioned, I will be in Italy this summer near your area, so If you are in town I would really like to see you. I will not have my lute with me however, as it is inconvenient to take on the plane and I will be travelling around a lot and not have time to play. regards Bruno Cognyl-Fournier Montreal, Quebec 2017-02-28 12:56 GMT-05:00 Bruno Cognyl-Fournier <[1]fournier...@gmail.com>: Dear Collective wisdom, I have been tuning my 5 and 6th course in octaves for years, with wound strings and gut or nylgut. recently I bought the CD loaded strings from Mimmo and am slowly getting used to them. I have thus replaced the fundamental with CD loaded, while keeping my octave strings in gut or nylgut, this on two different lutes. I have noticed that the octaves are horribly out of tune as I go up the neck, especially by the time you get to the 7th fret. I realize I rarely have to play up there, but it bothers me. Am trying to figure out what the problem is.. would it be a mismatch of tension? or would it be the Loaded CD strings, that as some of you have probably found to be very elastic. I have never had this issue with wound string/gut combinations. I will be testing each string individually to check which one goes out of tune as you move up the scale, but I suspect it is the Loaded string that is giving me the problem. any comments? Bruno -- References 1. mailto:fournier...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String calculators
[1]http://www.niskanenlutes.com/index.php?p=stringcalc works well 2017-03-01 10:00 GMT-05:00 Arto Wikla <[2]wi...@cs.dartmouth.edu>: Neither I dare let Java applets run, but my most simple calculator runs in JavaScript, see [3]https://www.cs.helsinki.fi/u/wikla/mus/Calcs/mc.html I use that, but you'll certainly find more advanced calculators, too. Arto On 01/03/17 15:59, Leonard Williams wrote: Can anyone recommend a good online string calculator? I used to use Arto's, but I'm currently being blocked by Java on my Mac (running Sierra â OS 10.12). Or perhaps someone more tech savvy than I (easily done!) knows a work-around. Thanks and regards, Leonard Williams To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.niskanenlutes.com/index.php?p=stringcalc 2. mailto:wi...@cs.dartmouth.edu 3. https://www.cs.helsinki.fi/u/wikla/mus/Calcs/mc.html 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: basses in octaves
OK, so I did what Mimmo mentioned in his latest video, I stretched the string from the 12th fret a couple of times, retuned, stretched again , etc. and I did get it pretty damn close to proper pitch. So the problem lies in the super elasticity of the CD. but there is a memory on the string and it bounces back eventually to what it was before. I will try, for the advancement of science, a few things suggested to me: 1. turn the string around 2. attach a 3 kg weight to the string for a few days and let it stretch on its own.. 3. part of the problem may also be due to the enormous amount of stretch between peg and nut, so I will try a gut leader to reduce that... Mimmo we will see each other this summer and we can look at replacement with less stretchy strings.. Bruno 2017-03-01 12:57 GMT-05:00 John Mardinly <[1]john.mardi...@asu.edu>: Simple physics: the strings are not uniform along their lengths, something that is actually difficult to achieve but something we have become accustomed to with newer more sophisticated methods of making strings. A. John Mardinly, Ph.D., P.E. Retired Principal Materials Nanoanalysis Engineer On Feb 28, 2017, at 10:56 AM, Bruno Cognyl-Fournier <[1][2]fournier...@gmail.com> wrote: Dear Collective wisdom, I have been tuning my 5 and 6th course in octaves for years, with wound strings and gut or nylgut. recently I bought the CD loaded strings from Mimmo and am slowly getting used to them. I have thus replaced the fundamental with CD loaded, while keeping my octave strings in gut or nylgut, this on two different lutes. I have noticed that the octaves are horribly out of tune as I go up the neck, especially by the time you get to the 7th fret.I realize I rarely have to play up there, but it bothers me.Am trying to figure out what the problem is.. would it be a mismatch of tension? or would it be the Loaded CD strings, that as some of you have probably found to be very elastic.I have never had this issue with wound string/gut combinations. I will be testing each string individually to check which one goes out of tune as you move up the scale, but I suspect it is the Loaded string that is giving me the problem. any comments? Bruno -- To get on or off this list see list information at [2][3]https://urldefense.proofpoint.com/v2/url?u=http- 3A__www.cs.dartmouth .edu_-7Ewbc_lute-2Dadmin_index.html&d=DQIBAg&c= AGbYxfJbXK67KfXyGqyv2Eji z41FqQuZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3N w-61ygSK-LNEQ&m=7m6 qXHFLDq4UJWi-GfyPBtaiVJ_kFOn69VHw637ynDA&s=- 7bGiiHqnFJB7nQpHaP75B_8t262 6BCzYNa0fBzEKa4&e= -- References 1. mailto:[4]fournier...@gmail.com 2. [5]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs. dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DQIBAg&c= AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU&r= MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ&m= 7m6qXHFLDq4UJWi-GfyPBtaiVJ_kFOn69VHw637ynDA&s=- 7bGiiHqnFJB7nQpHaP75B_8t2626BCzYNa0fBzEKa4&e= -- References 1. mailto:john.mardi...@asu.edu 2. mailto:fournier...@gmail.com 3. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth 4. mailto:fournier...@gmail.com 5. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DQIBAg&c=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU&r=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ&m=7m6qXHFLDq4UJWi-GfyPBtaiVJ_kFOn69VHw637ynDA&s=-7bGiiHqnFJB7nQpHaP75B_8t2626BCzYNa0fBzEKa4&e=
[LUTE] Re: 14 Course Powered Tiorbino
I've alway been tempted to try to tune as tiorbino, never tried it, I have the perfect small archlute for it.. 60-92 but I've always tuned it in renaissance tuning, had wound strings on 5th trhough 13th, but now using loaded nylgut. I have two such instruments, maybe I should try on the other one.. although I was planning on tuning the other one as a theorbe de pièces in D.. Bruno 2017-03-05 10:54 GMT-05:00 sterling price <[1]spiffys84...@cs.dartmouth.edu>: My Tiorbino is 56.7 cm on courses 1-7 and I use a tuning that is one octave above a regular big theorbo at 415. The challenge is tuning the high b string third course. I just had Boston catlines figure it all out and it works great. I used nylgut but I don't remember what the b string is-- it might be a .42. Is that the thinnest nylon available? When playing the basses it actually sounds better to let them ring on as they are so high of a pitch there is less need for dampening. And when playing in high positions on the treble strings it sounds quite amazing. I may do a video of De visee on the Tiorbino recorded in the back seat of my mustang for a world first. Sterling Sent from my iPad > On Mar 5, 2017, at 7:37 AM, Anthony Hart <[2]anthony.hart1...@gmail.com> wrote: > >I do not think my message got transmitted. > >I read with interest your post to the Lute discussion group.I have been >thinking of doing the same with my attiorbato. I have problems in >calculating the correct strings. What actual tuning do you use? > >On Sun, Mar 5, 2017 at 3:17 PM Anthony Hart ><[1][3]anthony.hart1...@gmail.com> wrote: > > -- Forwarded message - > From: Anthony Hart <[1][2][4]anthony.hart1...@gmail.com> > Date: Sun, Mar 5, 2017 at 2:17 PM > Subject: Re: [LUTE] 14 Course Powered Tiorbino > To: sterling price <[2][3][5]spiffys84121@cs. dartmouth.edu> > I read with interest your post to the Lute discussion group.I > have been > thinking of doing the same with my attiorbato. I have problems in > calculating the correct strings. What actual tuning do you > use? > Best wishes > Anthony Hart > 2017-03-05 13:31 GMT+01:00 sterling price > <[3][4][6]spiffys84...@cs.dartmouth.edu>: > So, as I did 23 years ago I took my old attiorbato and tuned it > as a > Tiorbino (that's an octave theorbo by the way). You have not > lived > till you've heard De Vissee on a solo Tiorbino. This very > spiffy > instrument can be used wherever a solo theorbo is used and it > has > the added advantage of extreme portability. I've been sitting > here > in the back seat of my Mustang playing theorbo music during > work > breaks. A Tiorbino sounds very distinctive in the lute world. > It > sounds very much like a small harp. Please do thyself a favor > and > try putting Tiorbino strings on thy attiorbato. > ---Sterling > Sent from my iPad > To get on or off this list see list information at > [4][5][7]http://www.cs.dartmouth. edu/~wbc/lute-admin/index.html > -- > > __ > Anthony HartMSc, LLCM,ALCM. > MusicologistandIndependentResearcher > Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA > Mob: [8]+356 9944 9552. > e-mail:[5][6][9]resea...@antoninoreggio.com; web: > [6][7][10]www.monsignor-reggio.com > NEWPublications:EDIZIONEANTONINOREGGIO > -[7][8][11]www.edizionear.com > for information and special offer > -- > > __ > Anthony HartMSc, LLCM,ALCM. > MusicologistandIndependentResearcher > Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA > Mob: [12]+356 9944 9552. > e-mail:[8][9][13]resea...@antoninoreggio.com; web: > [9][10][14]www.monsignor-reggio.com > NEWPublications:EDIZIONEANTONINOREGGIO > -[10][11][15]www.edizionear.com > for information and special offer > -- > References > 1. mailto:[12][16]anthony.
[LUTE] Re: Tiorbino
just for your information, I have a Tiorbino made by Colin Everett in Ottawa.. I tune it at standard Renaissance pitch (like a regular lute) my 7th through 13th course ( I don,t have 14 courses on this instrument, although Colin also made 14 courses) are singles and I have recently and successfully used Mimmo Peruffo's loaded Nylgut from 5th course down.. ( 5th and 6th in octaves) cheers Bruno Cognyl-Fournier (Montreal, Quebec) 2017-06-05 15:47 GMT-04:00 Anthony Hart <[1]anthony.hart1...@gmail.com>: A question about tiobino. The Cleveland Tiorbino on Wayne's site shows 6 +8. The bases are single strung. What is the opinion of this set up? If the basses are double should they be unison or octaves? There was a question earlier of the thiness of the 'b' (3rd). If the tension is reduced then this becomes a standard thickness. I have calculated on 20/25 N, this was the tension recommended by Martin Shepherd for Liuto attiobato, which is the same size instrument. Any suggestions welcome. Thanks and best wishes Anthony Hart [1][2]anthony.hart1...@gmail.com -- __ Anthony Hart MSc, LLCM,ALCM. Musicologist and Independent Researcher Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA Mob: [3]+356 9944 9552. e-mail: [2][4]resea...@antoninoreggio.com; web: [3][5]www.monsignor-reggio.com NEW Publications: EDIZIONE ANTONINO REGGIO - [4][6]www.edizionear.com for information and special offer -- References 1. mailto:[7]anthony.hart1...@gmail.com 2. mailto:[8]resea...@antoninoreggio.com 3. [9]http://www.monsignor-reggio.com/ 4. [10]http://www.edizionear.com/ To get on or off this list see list information at [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:anthony.hart1...@gmail.com 2. mailto:anthony.hart1...@gmail.com 3. tel:+356 9944 9552 4. mailto:resea...@antoninoreggio.com 5. http://www.monsignor-reggio.com/ 6. http://www.edizionear.com/ 7. mailto:anthony.hart1...@gmail.com 8. mailto:resea...@antoninoreggio.com 9. http://www.monsignor-reggio.com/ 10. http://www.edizionear.com/ 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
it would appear so... 2017-07-10 17:15 GMT-04:00 Leonard Williams <[1]arc...@verizon.net>: Is this year the 500th anniversary of the Capirola MS? Leonard To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:arc...@verizon.net 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A440?
If your theorbo is tuned to A 430 that is in fact the same as playing G when tuned at 480 hz (more or less) , so if you play theorbo in G, which should be easy enough, all you have to do is tune down to G @ A 440. if however A is a better key to realize the continuo for this Gig, then tuning up a quarter tone should be OK. Bruno 2017-08-08 9:20 GMT-04:00 Gary Boye <[1]boy...@appstate.edu>: Lute List, Thanks for all of your advice on the Lully and A440 . . . I knew there would be lots of opinions out there and sound practical advice. I'm leaning towards tuning the theorbo to G; I'm familiar with the tuning and think it should fit fairly well. I might also tune up to 440, but I've had some bad experiences with that in the past--ripped a bridge off a baroque guitar using a mix of strings rather carelessly--I made up my mind not to ignore string tensions after that! I also think of Flatt and Scruggs, the old bluegrass band from the 1940s and '50s; they played everything up a half step on their instruments in the early years and then all of their instruments (banjo, guitar, fiddle, mandolin, bass) developed problems, usually neck warping. But I'd be OK with a little more tension on the theorbo; less so the guitar . . . G theorbo seems to match the pieces well anyway. Gary On Tue, Aug 8, 2017 at 8:04 AM, Ron Andrico <[1][2]praelu...@hotmail.com> wrote: It's interesting how lutenists can get tangled up in the web of complexities concerning string materials and tensions and the most historically appropriate instrument for a particular style of music. In an ideal world, it would be nice to time travel and play the "correct" instrument for music of Lully, complete with unwashed clothes, unbathed musicians, and a big jerk who keeps pounding his big stick on the floor, drowning out any subtle flourishes you may wish to add.You may even wish he would accidentally pound his own foot with his stick and die of gangrene. The point is the music, and we should be flexible and take advantage of the opportunity to add our plucked strings and informed approach whenever reasonably possible.I say tune it up and play musically. RA __ From: [2][3]lute-...@cs.dartmouth.edu <[3][4]lute-...@cs.dartmouth.edu> on behalf of Gary Boye <[4][5]boy...@appstate.edu> Sent: Tuesday, August 8, 2017 12:47 AM To: [5][6]lute@cs.dartmouth.edu Subject: [LUTE] A440? Lute List members, Help! I've been asked to play on some Lully excerpts from Le Bourgeois Gentilhomme in early October. I have a theorbo, lute, Baroque guitar . . . no problem. But the conductor wants to do it A440. All of my instruments are strung for A430 (and one A415). My initial response is to say no, but I want to encourage some early music performance here, so my only options would appear to be: 1) Re-string an instrument for A440 ($$$!) 2) Try some type of capo (OK for guitar, less so on theorbo) 3) Try to finger it at F#m or Fm and stay tuned low 4) Tune high and risk it (!) 5) Try to convince them to play at A430 (seems doubtful) It's frustrating, but again, I'd like the experience of doing something to encourage some early music performance here . . . Any thoughts appreciated. Gary -- Dr. Gary R. Boye Erneston Music Library Appalachian State University Virus-free. [1][6][7]www.avast.com -- References Visible links 1. [7][8]https://www.avast.com/sig- email?utm_medium=email&utm_ source=link&utm_campaign=sig-email&utm_content=webmail&utm_ term=link Hidden links: 3. [8][9]https://www.avast.com/sig- email?utm_medium=email&utm_ source=link&utm_campaign=sig-email&utm_content=webmail&utm_ term=icon 4. file://localhost/net/ifs-users/lute-arc/L20935-2346TMP. html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2 To get on or off this list see list information at [9][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr. Gary R. Boye Erneston Music Library Appalachian State University -- References 1. mailto:[11]praelu...@hotmail.com 2. mailto:[12]lute-...@cs.dartmouth.edu 3. mailto:[13]lute-...@cs.dartmouth.edu
[LUTE] Re: KF vs. new Aquila bass strings
If I can put in my 2 cents worth.. I agree with Francesco, we are in witnessing a complete transformation of the lute. Whereas our concern back in the 80,s was to get away from non-historical reproductions of the 60's and 70's. Luthiers took time to study lutes in museums, x-ray , Mimmo and other string manufacturers , as well as Chales Besnainou, took time and effort to try and understand and reproduce strings that had the properties of historical gut. there are many unknowns still. I thik Mimmo's approach with CD loaded strings, is to be praised. Let us remember that we still know very little about the bass gut strings, and if we did, it would probably cost an arm and a leg to acquire them.. not for for everyone's wallet... Foldable theorbos, single strung, short theorbos, wound strings, carbon fishing line, are practical, but certainly getting away from what was intended in the revival of the lute. When I was playing guitar, and discovered lute music, I had only one thing in mind, play the music on the instrument it was meant for as close as possible as to what would have been back in the 16th and 17th centuries. We can assume perhaps, that if nylon, carbon and the likes had existed back then, they might have used them..or perhaps not.. perhaps also single strung foldable theorbos.. or perhaps not.. in the end its all a matter of taste, but then let's not pretend we are playing historically accurate instruments and reproducing a sound that would have been heard in the Renaissance and Baroque. Even the rectified gut strings I use on my ''MEDIEVAL'' lute are a far cry from what would have been used. I like Mimmo's strings because it brings a good sound compromise for the bass string problem, if my finances permitted, and if we had proper information on gut bass strings back then, I would probably use them.. in the meantime Mimmo has found a solution that suits my ear...and my wallet. Bruno Montreal (been playing since 1978)... 2017-08-30 10:57 GMT-04:00 Jean-Marie Poirier <[1]jmpoiri...@wanadoo.fr>: Concordo con Francesco ! Excellent and rather worrying assessment... ! Best, Jean-Marie -- >Thank you for that reality check, Francesco. Your points are well >taken. It is far too easy to allow our collective passion for the >historical lute to devolve into chit-chat over consumer goods - even to >the point of treating our lutes as consumer goods. > >Obviously, we have to accept that we live in the 21st century and >technologies like synthetic strings (and clever lute notation software) >are relevant, useful and difficult to avoid. And while it is true that >the lute evolved over time to adapt to ever changing musical tastes and >new technologies, I think it's important to remember that the lute and >everything it represents should maintain it's place as a symbol of the >historical aesthetic that goes hand in hand with the music originally >composed for the instrument. In my opinion, that is the most important >thing. > >RA > __ > >From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu> on behalf >of Francesco Tribioli <[4]tribi...@arcetri.astro.it> >Sent: Wednesday, August 30, 2017 7:32 AM >To: 'lutelist Net' >Subject: [LUTE] Re: KF vs. new Aquila bass strings > >I wonder what is left of the original idea of playing instruments, >built as >the original ones were built, with historically informed technique. >Single >strung archlutes, foldable theorbos, short theorbos strung with wound >strings, instruments with different vibrating lengths always tuned to >440 >even stretching the physical limits of the instrument itself, synthetic >strings not even close to gut and even fishing lines, amplifiers, >mechanical >pegs, pop music played on the lute... Oh well... :-( >Francesco >> -Messaggio originale- >> Da: [5]lute-...@cs.dartmouth.edu [[1]mailto:[6]lute-arc@cs. dartmouth.edu] >Per >> conto di Andreas Nachtsheim >> Inviato: mercoledà ¬ 30 agosto 2017 07:22 >> A: Edward Martin <[7]edvihuel...@gmail.com> >> Cc: Tristan von Neumann <[8]tristanvonneum...@gmx.de>; George Arndt >> <[9]george.ar...@hotmail.com>; lutelist Net <[10]Lute@cs.dartmouth.edu> >> Oggetto: [LUTE] Re: KF vs. new Aquila bass strings >> >> Hello all >> >> the name of the Japanese brand is 'Seaguar' (made by Kureha) and they >> produce lots of different carbon fishing line. I made real good >experiences >
[LUTE] Re: Matanya Orphee
yes a rather argumentative guy, who was disliked for his comments by many. I did not miss his bickering on the list. but still sad to lose someone in our community. rest in peace Bruno 2017-11-09 10:15 GMT-05:00 Mark Delpriora <[1]terli...@new-old-mail.cs.dartmouth.edu>: I should add that that the correct spelling of his name is Ophee. His publishing company is named Editions Orphee, resulting in eternal confusion He hated that! RIP Sent from my iPhone On Nov 9, 2017, at 9:57 AM, [1][2]terli...@aol.com wrote: Hi All, I have not seen this posted here: Guitarist, publisher, editor, scholar Matanya Orphee passed away on November 6th at 6:00 p.m. Matanya was an extraordinary man: incredibly productive, controversial, combative and generous. He made some great contributions to the guitar literature not least of which is advocating and publishing and even commissioning works for Russian 7 string guitar. He also published some lute editions. I am grateful to him as the publisher of 5 of my works. I believe Matanya had the rare distinction of being kicked off this list. [2][3]http://www.guitarandluteissues.com/ Best, Mark Delpriora -- References 1. mailto:[4]terli...@aol.com 2. [5]http://www.guitarandluteissues.com/ To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:terli...@new-old-mail.cs.dartmouth.edu 2. mailto:terli...@aol.com 3. http://www.guitarandluteissues.com/ 4. mailto:terli...@aol.com 5. http://www.guitarandluteissues.com/ 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Flow My Tears in G Minor
Seems to me they were both designed to be in A minor, the song version being played on an A lute instead... Definitely from a hands point of view, the 7 Tears version in A minor using a G lute is much more difficult to play.. 2017-11-28 4:11 GMT-05:00 John Lenti <[1]johnle...@hotmail.com>: Isn't the received wisdom also that none of the g minor Lachrimae pavans is by Dowland and that only the lute parts of the 7 tears show his handling of the theme as a lute piece? Except of course that the Lachrimae galliard is in g minor. H. Sent from my Ouija board On Nov 28, 2017, at 12:02 AM, howard posner <[1][2]howardpos...@ca.rr.com> wrote: On Nov 27, 2017, at 8:02 PM, Edward C. Yong <[2][3]edward.y...@gmail.com> wrote: Query for the luteverse. While Dowland's song Flow My Tears is in A minor, the solo version is in G minor. Is there any reason why It's not unusual for instrumental versions of songs to be in a different key from the original, because the song is pitched to accommodate the voice and the instrumental version is set to accommodate the hands or maximize the instrument's resonance. To get on or off this list see list information at [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. mailto:[5]howardpos...@ca.rr.com 2. mailto:[6]edward.y...@gmail.com 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:johnle...@hotmail.com 2. mailto:howardpos...@ca.rr.com 3. mailto:edward.y...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. mailto:howardpos...@ca.rr.com 6. mailto:edward.y...@gmail.com 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?
Hi Mimmo Totally agree with you. I don,t see the point in playing archlute and theorbo if its to make it sound as loud as and electric guitar. the loaded strings work well for regular lutes. The whole point of the loaded nylgut is to try and reproduce the sound of a gut string that would have possibly been loaded for the short necks. Bruno 2017-12-04 3:07 GMT-05:00 Mimmo - Aquila Corde Armoniche <[1]mperu...@aquilacorde.com>: Hello, Some are telling me to produce longer CD strings for the long theorbo diapasons. Actually, I have some strong doubts: the tonal balance with the fretted strings will became even worse; the sound, in general, will became too bright and 'modern'. The risk is that we will lost the sense of the 'fondamento', whose sound should imitate the human voice and be dark, not too brilliant. I know: many performers already uses long wound strings; at the same time we know that the extended necks were introduced to accomodate plain gut strings, not for denser gut/synthetic version of it or even wound strings. Actually, I would like to stay in the direction that can make of support of the traditional Lute/theorbo sound, not in the direction to destroy it making a sort of... elettric chitarrone (Lol). Maybe things can be different if we are specking of these special kind of invented short neck theorboes that are today whidely in use when one must take a fly. We know how hard is to fly with a standard theorbo. These instruments has only an option that work: wound strings. Making a longer CD for this kind of instruments can be maybe a good option? Maybe making them of 1,40 cms max so one cannot install them on the 'real' theorboes... Guys, which is you opinion? Mimmo Peruffo To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:mperu...@aquilacorde.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mandolino versus Mandola
and then there is the Algerian mandola used in traditional Andaluz music.. and chaabi [1]https://www.youtube.com/watch?v=nWyqe4yNe4E Bruno 2017-12-06 15:58 GMT-05:00 Braig, Eugene <[2]brai...@osu.edu>: Keep in mind that the modern application of "mandola" to a wire-strung tenor instrument tuned G, d, a, e' isn't universal. "Mandola" is also applied to the alto instrument tuned c, g, d', a' in most English-speaking places. Best, Eugene -Original Message- From: [3]lute-...@cs.dartmouth.edu [mailto:[4]lute-arc@cs.dartmouth. edu] On Behalf Of Alain Veylit Sent: Tuesday, December 05, 2017 11:17 AM To: Lutelist Subject: [LUTE] Re: Mandolino versus Mandola Thank you Eugene. From having read a variety of sources now, my current understanding is that the mandola is a mandolino with one additional course: i.e. 5-courses when the mandolino had 4, and 6 when the mandolino had 5. It's all relative... Specially if you consider that the modern mandola seems to be a bass mandolin, tuned in fifth one octave down. Yet, at least one piece in the Dalla Casa collection labelled for mandolino requires a 6-course instrument. Anyone Italian who could tell me what the meaning of the word "Gordini" is? (I don't mean the Renault sports car...) Was it a profession? Alain On 12/04/2017 07:40 PM, Braig, Eugene wrote: > I had used a word that the listserv's robot flags as a request instead of a message. Here remedied with far more words than necessary. > > Eugene > > > -Original Message- > From: Braig, Eugene > Sent: Monday, December 04, 2017 7:39 PM > To: Lutelist > Subject: RE: [LUTE] Re: Mandolino versus Mandola > > I'm also quite excited to see this article, Davide, but back issues don't appear to be available for sale yet, and my university doesn't [pay a fee to periodically receive editions of] the British journal. > > Some sources attest to the (largely) interchangeable nature of the terms, and some attest to "mandola" referring to generally larger instruments (e.g., in both cases, Herre, Susanne. 2012. The mandolin in relation to the lute: a historical survey. Lute News 104:9â23. In the latter case, Morey, Stephen. 1993. Mandolins of the 18th Century. Editrice Turris, Cremona. Etc.). I've seen Orlandi write in at least one place (I don't recall which, but can look for the reference if you're really curious) that "mandola" may have simply referred to the addition of the sixth course (i.e., g) as it was becoming more common following a five-course-dominated tradition. That may be implied by the Dalla Casa manuscript which gives a "mandolino" tuning in five courses (i.e., b, e', a', d'', g'') and several works for "mandolino" in that range, but that also features a "Suonata con Grave" for "mandola" with the melody line descending below. Etc. . . . But you've already touched on al! l those possibilities, and I suspect from the same sources that I cite here (as well as a couple others), Alain. > > However, I don't want to weigh too heavily upon this topic until I've seen what Davide has recently published. > > Best, > Eugene > > > -Original Message- > From: [5]lute-...@cs.dartmouth.edu [mailto:[6]lute-...@cs.dartmouth.edu] On > Behalf Of Alain Veylit > Sent: Sunday, December 03, 2017 1:17 PM > To: Davide Rebuffa > Cc: Lutelist > Subject: [LUTE] Re: Mandolino versus Mandola > > Thank you Davide, > > I have read this one: "A Partita by Filippo Sauli, theorbo and mandolin player to the Habsburgs Courtin Wien" with much interest and I am sure your article in Lute news would be answering some of my questions. I am not sure however that I will be able to get a copy in the near future. > > > On 12/03/2017 09:41 AM, Davide Rebuffa wrote: >> Dear Alain, >> perhaps it may help you reading my article (The mandolino in the 17th and 18th centuries), recently published by the Lute Society: LUTE NEWS Number 123 - October 2017. >> >> Best wishes, >> Davide >> >> >> >> >> >> >> >> >> >>> Il giorno 03 dic 2017, alle ore 17:38, Alain Veylit <[7]al...@musickshandmade.com> ha scritto: >>> >>> Does anyone know what exact differences existed between the mandolino and the mandola in the 18th century? Were the two terms really interchangeable? Was the mandola just a mandolino with one added bass course? Did they share a common tuning and playing technique? >>>From what I gather from searching the WEB, the answer to those questions would be y
[LUTE] Re: A stringing question for Sellas E. 545
well when SOFRACOB still existed, you could cut your own length since he sent them in lengtes of more than 3 meters.. Woul Dan Larson provide strings that that long? or Mimmo Peruffo if you go Nylgut? Bruno 2017-12-11 11:42 GMT-05:00 Magnus Andersson <[1]magnusl...@gmail.com>: Hi all, sorry for the confusion! The diapasons are 1300 mm long, but I ´d need a bit more than that to be able to knot them properly. Best, Magnus On Mon, Dec 11, 2017 at 5:41 PM, howard posner <[1][2]howardpos...@ca.rr.com> wrote: > On Dec 11, 2017, at 8:23 AM, Magnus Andersson <[2][3]magnusl...@gmail.com> wrote: > > 8 double strings for the diapasons, at 1300 mm. > It was probably shortened sometime from its original length > into this present condition. > The problem that arises is when one wants to string the upper courses > of the diapasons. Here one needs very thin strings beginning with > 0.40-0.42 > for the high string of the 7th course Gg, at the string length of ca. > 1500 mm... Are the diapasons 1300 or 1500? To get on or off this list see list information at [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[5]howardpos...@ca.rr.com 2. mailto:[6]magnusl...@gmail.com 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:magnusl...@gmail.com 2. mailto:howardpos...@ca.rr.com 3. mailto:magnusl...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. mailto:howardpos...@ca.rr.com 6. mailto:magnusl...@gmail.com 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Early Music life
Hi I live in Montreal and play Medieval and Renaissance music. Had a medieval music group for 15 years or so, and frankly I got tired of dressing up and going to medieval fairs and banquets, where no-one really cares about real medieval music, and just wants background noise. Most people who go to these fairs and banquets have no clue as to what medieval music is, and want everyhing from Thoineau Arbault Bransle des Chevaux to Lorrena McKennit celtic music. They have no clue about Cantigas de Santa Maria, Trouvere and troubadour music, and never mind if you should even attempt to play some Trecento music. I now only play in concert situations, and organize workshops together with a bunch of friends, to educate the people.. and I no longer dress up.. Back in university some 40 years ago, it was fun to go play in medieval and renaissance banquets..no longer is the case for me Bruno 2018-01-03 11:46 GMT-05:00 Samuel Lawson <[1]sjlaw...@sdf.org>: Hallo, Tristan et al. I play a 16th-century-style 8-course lute. I live in Indianapolis, IN, USA. My wife and I perform at some renaissance faires [sic] and Scottish Highland games. While Renaissance Faire music tends toward novelty songs, I am adamant on including a handful of John Dowland, Pickeringe, and some tunes from the Scottish lutebooks Straloch and Rowallan. I am also called upon for the occasional wedding and school events. Cheers, Samuel J. Lawson On Wed, 3 Jan 2018, Tristan von Neumann wrote: Date: Wed, 3 Jan 2018 14:41:57 +0100 From: Tristan von Neumann <[2]tristanvonneum...@gmx.de> To: lutelist Net <[3]lute@cs.dartmouth.edu> Subject: [LUTE] Early Music life Happy New Year to all who are on the European calendar. Here's one question - is there any noticeable Early Music life going on in your neighborhood, besides the 19th/20th century concert context (which I always find a bit awkward)? Ever heard of a bar where there are Early Music jam sessions? Have you ever seen Early music picknicks in the park or in the woods? Do you play table music at your own private dinner parties? To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Cheers, Samuel J. Lawson, FSA Scot =-=-=-=-=-=-=-=-==-=-=-=-=-=-=-=-=-= "I love deadlines - I love the WHOOSHING sound they make as they fly by!" -Douglas Adams =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- [5]sjlaw...@sdf.org [6]https://sjlawson.sdf.org =-=-=-=-=-=-=-=-==-=-=-=-=-=-=-=-=-= SDF Public Access UNIX System - [7]https://sdf.org -- References 1. mailto:sjlaw...@sdf.org 2. mailto:tristanvonneum...@gmx.de 3. mailto:lute@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. mailto:sjlaw...@sdf.org 6. https://sjlawson.sdf.org/ 7. https://sdf.org/
[LUTE] Re: Early Music life
Hi Tristan I personally didn't study music at university to end up playing elevator music in Renaissance Fairs. I think as serious musicians, it is our duty to continue our efforts in educating the public. And medieval faires is not the way to do it. I therefore disagree with the original post about awkward concert situations. Yes informal playing is good, but it limits the amount of people who can become educated about the music we love. Concerts with themes and story telling is by far the best approach, as well as workshops. I belong a to a Non - profit organization in Montreal, composed of musicians who have studied in Basel, and have performed all over; we organize workshops and concerts with a different subject each year. It doensn't attract a lot of people, and the occasional medieval fair aficionado shows up ( thinking its going to be another medieval fair..) but the response is great, people are so happy to learn about the different periods. you can see what we do at [1]www.reverdiesmontreal.org we even have people coming from Boston to participate..!! yay... Bruno 2018-01-03 12:54 GMT-05:00 Tristan von Neumann <[2]tristanvonneum...@gmx.de>: Don't bother Bruno, it's the same here in Germany with the Medieval Faires. They claim to cover 13th-15th century, and succeed when it comes to housewares, clothing and swordfighting. When it comes to music, you consider yourself lucky hearing Susato or Attaignant. If you played some Ars Subtilior songs, you would probably be burned at the stake. Most music is basically techno with shawms, bagpipes, and massive drums, though this is kind of a fun genre that developed there... Am 03.01.2018 um 18:46 schrieb Bruno Cognyl-Fournier: Hi I live in Montreal and play Medieval and Renaissance music.Had a medieval music group for 15 years or so, and frankly I got tired of dressing up and going to medieval fairs and banquets, where no-one really cares about real medieval music, and just wants background noise. Most people who go to these fairs and banquets have no clue as to what medieval music is, and want everyhing from Thoineau Arbault Bransle des Chevaux to Lorrena McKennit celtic music.They have no clue about Cantigas de Santa Maria, Trouvere and troubadour music, and never mind if you should even attempt to play some Trecento music. I now only play in concert situations, and organize workshops together with a bunch of friends, to educate the people.. and I no longer dress up.. Back in university some 40 years ago, it was fun to go play in medieval and renaissance banquets.. no longer is the case for me Bruno 2018-01-03 11:46 GMT-05:00 Samuel Lawson <[1][3]sjlaw...@sdf.org>: Hallo, Tristan et al. I play a 16th-century-style 8-course lute. I live in Indianapolis, IN, USA. My wife and I perform at some renaissance faires [sic] and Scottish Highland games. While Renaissance Faire music tends toward novelty songs, I am adamant on including a handful of John Dowland, Pickeringe, and some tunes from the Scottish lutebooks Straloch and Rowallan. I am also called upon for the occasional wedding and school events. Cheers, Samuel J. Lawson On Wed, 3 Jan 2018, Tristan von Neumann wrote: Date: Wed, 3 Jan 2018 14:41:57 +0100 From: Tristan von Neumann <[2][4]tristanvonneum...@gmx.de> To: lutelist Net <[3][5]lute@cs.dartmouth.edu> Subject: [LUTE] Early Music life Happy New Year to all who are on the European calendar. Here's one question - is there any noticeable Early Music life going on in your neighborhood, besides the 19th/20th century concert context (which I always find a bit awkward)? Ever heard of a bar where there are Early Music jam sessions? Have you ever seen Early music picknicks in the park or in the woods? Do you play table music at your own private dinner parties? To get on or off this list see list information at [4][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Cheers, Samuel J. Lawson, FSA Scot =-=-=-=-=-=-=-=-==-=-=-=-=-=-=-=-=-= "I love deadlines - I love the WHOOSHING sound they make as they fly by!" -Douglas Adams =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- [5][7]sjlaw...@sdf.org [6][8]https://sjlawson.sdf.org =-=-=-=-=-=-=-=-==-=-=-=-=-=-=-=-=-= SDF Public Access UNIX System - [7][9]https://sdf.o
[LUTE] Re: String tech
I believe some people put a dab of glue and quickly run their fingers on the string to glue the stray fibres onto the string 2018-01-19 12:45 GMT-05:00 Leonard Williams <[1]arc...@verizon.net>: Has anyone come up with a technique to increase the life of gut trebles? (besides switching to synthetics!) I get stray fibers very shortly after installing oneâstill playable but the tone and intonation suffer. Thanks! Leonard Williams To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:arc...@verizon.net 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String tech
Hi Ed, Happy New Year old friend, all the best to you and Colleen. Nice to hear from you on this subject. I like Ed have played for many years with gut, I have only been using nylgut in the las 4 years or so, only because I now have so many lutes ( and I only have 8... don't know how Jean-Marie Poirier manages with his 30 some lutes..), that I find it a bit expensive to string them all in gut.. and my supplier fo 30 some years (SOFRACOB) which in my opinion was the best value for your $, has gone out of business. I am tempted however to go with Gamut for at least one of my lutes, and Ed if I recall you were supposed to send me some gauge calculations for the diapasons on the little Colin Everett archlute.. Bruno 2018-01-19 16:30 GMT-05:00 Edward Martin <[1]edvihuel...@gmail.com>: Hello Leonard and others, This is a topic of great interest to me, as I have played mostly gut strings for 30 + years. There is nothing as beautiful as the sound of a gut strung lute tuned well. Some have tried oils, resins, even crazy glue with mixed effectiveness of making trebles last long. Of the few who responded, what they did not say is what pitch and string length they are using. In my experience that is the utmost important factor. If you want a g treble at a=440, you cannot exceed 59 cm in length. If you do, you can only expect short strong life. It does not help to use a smaller diameter treble, as lowering the tension does not help either. If you want a baroque lute treble of f a = 415, if you exceed 68 cm, you will experience failure and short string life. We certainly can use any synthetic string, nylon, carbon, nylgut, etc., but the properties of gut are that we must stay in the formula or we have treble string short life. Some argue that we "should" be able to string gut trebles at higher pitches than what gut is capable of, but experience has shown otherwise. Although we can get a synthetic treble at g = 440 at let's say 63 cm, we cannot with gut and that lute for instance should be at f, not g. My 67 cm. 11-course baroque lute is at f 415 at 67.5 , and a usual treble lasts me 3 months. Once, I had one that lasted 10 months with heavy playing!! On my 70.5 cm baroque lute, it only lasts a day or so unless I lower the pitch to e. Then if I do that, it lasts as long as the other lute. So, if you have a 63 cm lute and insist on a gut treble, the pitch should be f, not g at 440. Staying within the upper limits is the only way to use a gut treble. Some people record in gut in that configuration, but they can stop and change trebles as they fail! Another factor is what kind of gut. Gamut now has beef gut trebles and they seem much stronger than sheep gut; some say beef is not as sweet in sound, but I cannot tell the difference in appearance, sound, playability, or texture. For me, beef is my personal choice. Ed Sent from my iPhone > On Jan 19, 2018, at 11:45 AM, Leonard Williams <[2]arc...@verizon.net> wrote: > > Has anyone come up with a technique to increase the life of gut trebles? (besides switching to synthetics!) I get stray fibers very shortly after installing oneâstill playable but the tone and intonation suffer. > > Thanks! > Leonard Williams > > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:edvihuel...@gmail.com 2. mailto:arc...@verizon.net 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Double first courses (chanterelles)
Interesting to note however that the ancestor of the european lute, ie the arabic Oud, has had double chanterelles all throughout history... in fact its the lowest string which sometimes is single. Bruno 2018-01-22 3:29 GMT-05:00 Antonio Corona <[1]abcor...@cs.dartmouth.edu>: Dear Edward, Despite what the pegs on the vihuelas suggest, I've found plenty of evidence that it was strung with a single first. We need to review our ideas on the subject of vihuela stringing ... Best wishes Antonio __ From: Edward Martin <[2]edvihuel...@gmail.com> To: lute net <[3]lute@cs.dartmouth.edu> Sent: Sunday, 21 January 2018, 14:56 Subject: [LUTE] Double first courses (chanterelles) Dear Collective wisdom, When did double first courses cease to exist on renaissance lutes? We know from early on, and from the middle ages, they were double strung on every course, including the treble. In terms of iconographical evidence, I looked at the Caravaggio "Lute Player", an the subject (he or she) is playing a 6 course lute, double strung throughout, including the treble, and there are 6 pegs on the upper and lower side of the peg box. Caravaggio's birth- death dates are 1571à ¢1610. So, perhaps his subject had an old fashioned lute for the time, or perhaps double-strung first courses lasted longer than we may think. Vihuelas also her double strung in the first courses, at least the instruments show 12 pegs for the 6-course vihuela. I tried to look up some information to answer my questions, but I could not find any in the sources I used. So, my questions are: 1. When did the double first courses stop, or go out of vogue? Was it universal, or did some countries / nationalities stop the practice earlier or later than others.? Did Francesco use a double first course? 2. Why did the double chanterelle stop? We know that later, lutes only had pegs and pegboxes to accommodate a single treble. 3. What evidence is there to support the "when and why" of this practice? 4. If a double chanterelle was the norm for a great part of the renaissance, why is it that it is so infrequently that we see a modern player doing this practice? Thanks in advance. ed -- To get on or off this list see list information at [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:abcor...@cs.dartmouth.edu 2. mailto:edvihuel...@gmail.com 3. mailto:lute@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cherbury lute book
Although I like to have printed facsimiles and editions in general, I find PDF's more and more practical for browsing quickly through the music and printing only what you want to play. I am actually considering buying a large table so I can read straight from the pdf, even in concert.. Bruno 2018-01-31 11:17 GMT-05:00 Ron Andrico <[1]praelu...@hotmail.com>: Dear Chris: I'm writing in response to Hector's lute list posting on the subject of the Herbert facsimile under consideration for publication. I would buy the Lute Society facsimile edition, and would actively encourage others to do so as well. There is a certain misconception that, because pdf facsimiles may be readily available from libraries, there is no longer a need for, nor a demand for, good quality printed editions of lute music. I have observed that while lute players love to collect music, and also love to get free music, there is simply no replacement for a well-designed printed edition that includes essays on historical background and concordances. I'll wager that most downloaded facsimile editions are simply archived on hard drives and remain there unused. And as much as technophiles love to tout the latest i-pad gizmos, nothing can replace real paper music on a music stand. I'm not the only person who has observed that information from a printed page is mentally processed much more effectively than information on a backlit screen. Yes, please do what is necessary to advance the Herbert facsimile project. Best wishes, Ron __ From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu> on behalf of Hector Sequera <[4]hectorl...@mac.com> Sent: Wednesday, January 31, 2018 1:55 PM To: [5]lute@cs.dartmouth.edu Subject: [LUTE] Re: Cherbury lute book Good afternoon, In reply to the original question, the Lute Society just sent an email to its membership to assess whether or not there is any interest on this. Your reply to the message below may determine the fate of this project. If interested simply reply to the secretary at: [6]lute...@aol.com <[1]mailto:[7]lute...@aol.com> Here is the original message sent this morning to the LS list: âââââââââââââââ 1. HERBERT OF CHERBURY LUTE BOOK FACSIMILE â WOULD YOU BUY A COPY? We have been talking for some years about producing a facsimile of the Herbert of Cherbury lute book, the last great English renaissance lute manuscript, with music from 6 to 10 courses, but there have been delays. We don't need prepayments or subscriptions but we need to have some idea of demand â especially as sales of facsimiles are less than they were, with some much available online. If a facsimile of the Herbert of Cherbury lute book were similar in format to our beautiful Dd.2.11 facsimile, and similar in price - £50 to members - WOULD YOU VERY PROBABLY BUY A COPY? PLEASE REPLY TO THIS EMAIL TO LET US KNOW! And let us know if this would be too expensive, but you would buy simple, say, black and white reproduction, for, say £25. ââââââââââââââââ Best wishes, Hector > On 31 Jan 2018, at 13:39, Matteo Turri <[8]matteo.o.tu...@gmail.com> wrote: > >On 28 January 2018 at 12:42, Denys Stephens <[1][9]denyssteph...@sky.com> >wrote: > >Dear Matteo, > >Thanks for your email! The subject of the planned Cherbury facsimile >was discussed at the Lute Society committee meeting held last December, >and there was still strong interest in publishing a hard copy facsimile >at that time. However, it wasn't known then that the museum would be >offering a PDF copy of the manuscript, and that may change views within >the committee about the viability of a hard copy edition. So I'm afraid >that I can't give you a definitive answer at the moment, but hopefully >a decision will be made on this later this year. A great deal of work >has been done by the society on the introductory material for the >facsimile, and I feel sure that this will be made available by the >society in some form in the not too distant future. > > >Best wishes,
[LUTE] Re: Can you help identify this lute?
Daryl Williams Shomberg Ontario? circa 1977? athgough I own 2 lutes by Daryl 1979 and 1980 and they do not have initials, but rather a label inside. and do not have the lutar look.. 2018-02-16 12:53 GMT-05:00 Wayne <[1]wst...@cs.dartmouth.edu>: Hi Lute People - A friend found this lute in the collection of a music store's owner. It is marked with a W ⥠D and there are pictures at. [2]http://www.cs.dartmouth.edu/~wbc/lute/Charlie/ Do any of you know who made it, its age, or value? Wayne To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:wst...@cs.dartmouth.edu 2. http://www.cs.dartmouth.edu/~wbc/lute/Charlie/ 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: dying strings
I have occasionally coloured my strings with permanent marker ( Sharpie) it lasts quite a long time.. Bruno 2018-05-30 10:36 GMT-04:00 Mimmo - Aquila Corde Armoniche <[1]mperu...@aquilacorde.com>: Things are not that easy. Ed is right, however it is possible to dye the string just after polishing, and this is what the stringmakers that make harp strings usually do. This is done using a double component coloured varnish and using a sponge. Of course, in this case you obtain a varnished string. It is possible to do the same job on a unvarnished gut string it using an alcool soluble pigment and a few of cotton. Then put on the string a bit of almond oil when the string is well dried Ciao Mimmo -Messaggio originale- Da: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu> Per conto di Gamut Music Inviato: mercoledì 30 maggio 2018 16:28 A: Ed Durbrow <[4]edurb...@sea.plala.or.jp> Cc: lute list <[5]lute@cs.dartmouth.edu> Oggetto: [LUTE] Re: dying strings Hi Ed, At Gamut strings, we sometimes dye them, but we do this when the gut is wet, before the string is twisted and constructed.After the string is twisted, dry and ready to be used, we do not color our strings because we would have to soak them to make them wet again, and this would probably destroy the string, we do not know. We would be interested to know if anyone knows how to successfully dye a gut string already constructed. Best, Ed Martin Gamut Music Customer Support On Tue, May 29, 2018 at 10:13 PM, Ed Durbrow <[1][6]edurb...@sea.plala.or.jp> wrote: Has anyone found a way that worked for them to dye gut strings? I have used a magic marker but it wears off. Ed Durbrow Saitama, Japan [2][7]http://www.youtube.com/user/edurbrow?feature=watch [3][8]https://soundcloud.com/ed-durbrow [4][9]http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at [5][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[11]edurb...@sea.plala.or.jp 2. [12]http://www.youtube.com/user/edurbrow?feature=watch 3. [13]https://soundcloud.com/ed-durbrow 4. [14]http://www9.plala.or.jp/edurbrow/ 5. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:mperu...@aquilacorde.com 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:lute-...@cs.dartmouth.edu 4. mailto:edurb...@sea.plala.or.jp 5. mailto:lute@cs.dartmouth.edu 6. mailto:edurb...@sea.plala.or.jp 7. http://www.youtube.com/user/edurbrow?feature=watch 8. https://soundcloud.com/ed-durbrow 9. http://www9.plala.or.jp/edurbrow/ 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 11. mailto:edurb...@sea.plala.or.jp 12. http://www.youtube.com/user/edurbrow?feature=watch 13. https://soundcloud.com/ed-durbrow 14. http://www9.plala.or.jp/edurbrow/ 15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New World lute/theorbo, etc.
there was a study done a while back by Robert Derome on the lute in New France [1]http://rd.uqam.ca/Luth/index.html Le mar. 30 juil. 2019 à 13:37, <[2]jjnoo...@sbcglobal.net> a écrit : A questionâmostly likely for luters north of the borderâ Do we have any documentary evidence (letters, wills, inventories, etc.) of lutes or theorboes in New France (Canada and Western US) in 16th-17th -18thcenturies? Are there any surviving instruments from the period in Canadian museums or collections? A number of years ago, historian colleague showed me a reference to a theorbo in the French Caribbean in a (I think) late 17th-c text. I've misplaced the reference and am trying to dig it up again. (If anyone out there knows this source, I'd appreciate your jogging my memory.) There are, of course, references to the guitar in 16th-c Spanish and French colonies but I don't recall ever seeing lutes listed in any of those documents. Regionally, a local historian shared with me a reference to a guitar in the early 19th-c will/inventory of a French settler in Ste. Genevieve MO. I don't think there is any description of the instrument, so no telling if it was a French baroque guitar, a European transitional guitar or a New World instrument. Thanks in advance for any pertinent ideas or suggestions. See ya, jeff -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://rd.uqam.ca/Luth/index.html 2. mailto:jjnoo...@sbcglobal.net 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino
I own a Colin Everett small archlute. 56.5/104..which I guess you could consider a tiorbino, although I have never strung it as such. I tune it in standard renaissance lute tuning, and I find if quite useful to play everything from 6 course music to 13 course zamboni. Very easy for my small hands and stretch (I have one atrophied pinky finger on my left hand due to Dupuytren disease). Bruno Le mer. 20 nov. 2019 12 h 18 p.m., Richard Brook <[1]richa...@mail.cs.dartmouth.edu> a écrit : I agree with Howard If there is a free (or quite inexpensive) tiorbino around I would like to put in a request. Dick Brook > On Nov 19, 2019, at 3:26 AM, howard posner <[2]howardpos...@ca.rr.com> wrote: > >> On Nov 17, 2019, at 8:47 AM, [3]yuval.dvo...@posteo.de wrote: >> >> I was offered a Tiorbino, and I'm wondering what one can do with it (except of playing Bellerofonte-Castaldi): Are there any proofs that it was used for playing solo instead of a big theorbo or for playing continuo? > > Probably no "proofs," but maybe you're asking the wrong question. > > The question I would ask is, "If I owned a tiorbino in 1642, what would I do with it?" > > Or for present purposes it might be better asked, "If the tiorbino wasn't used for playing solo theorbo music and wasn't used for continuo, why would anyone pay good money for one?" Even Bellerofonte Castaldi would have thought it pointless to have an instrument that was useful only for a few duets. > > I have no idea how many tiorbinos existed in the 17th century, but the idea that someone would have one and not use it for continuo or solo music makes no sense. Anyone who owned a tiorbino would have played solo music and continuo on it, because the alternative was keeping it in a closet 362 days out of the year. > > It's not clear to me what you mean by "I was offered a tiorbino," but if someone wants to give it to you and you decide you don't want it, give that person my email address and say I'd be happy to take it. > > > > > > To get on or off this list see list information at > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:richa...@mail.cs.dartmouth.edu 2. mailto:howardpos...@ca.rr.com 3. mailto:yuval.dvo...@posteo.de 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Unison C string on 8c lutes
Love 5th and 6th in octaves...only play that way. Le sam. 23 nov. 2019 5 h 10 p.m., Edward Martin <[1]edvihuel...@gmail.com> a écrit : I think you will be surprised at how you will like the 5 th course in octaves. Good luck! Sent from my iPhone On Nov 23, 2019, at 12:34 PM, Jurgen Frenz <[2]eye-and-ear-cont...@protonmail.com> wrote:  Hello Edward, thank you very much, I feel encouraged now to "go octaves" all the way down from 5th. course.I should consider myself stupid that I hesitated, because who is there to judge me apart from myself. I am not competing in any academic exercise :-) Thank you very much again, gut is cost-wise prohibitive to me. Best regards Jurgen -- "Close your eyes. Fall in love. Stay there." JalÃl ad-Dën Muhammad Rumi âââââââ Original Message âââââââ On Saturday, November 23, 2019 9:16 PM, Edward Martin <[3]edvihuel...@gmail.com> wrote: Hello Jurgen, I agree that in with 8-course lutes, they do tend to not sound as brilliant as with octaves. Of course, it is a compromise, but on my 8-course lute, I have octaves on 5,6,7, & 8 and like it very much. Whatever brand of strings you try, I think you will like the 5th course in octaves, as it brightens up the sound. I do not see it as confusing the voices as you say, but adding to the richness and complexity of the sound. Another thing that could very much improve the sound is to use gut. If you do not want gut, at least consider using gut for octaves. On Sat, Nov 23, 2019 at 6:19 AM Jurgen Frenz <[1][4]eye-and-ear-cont...@protonmail.com> wrote: Hello there, I have an 8c lute now since 10 months and from the beginning I'm "unhappy" with the sound of the unison C strings on it. I changed the plain Aquila strings to round-wound Aquilas but to me it sounds quite the same. What I'm missing is the high frequencies that we have on 6c instruments with the octave string. In my mind I call the current sound "plastic-y". The maker of the instrument suggested to try out the Savarez early music strings but I do not think I would recover high frequencies with them. Any remedies that you have tried out with success other than "just get used to it"? An octave string shouldn't be a good idea because it would confuse voices. Hoping for some suggestions, Jurgen -- "Close your eyes. Fall in love. Stay there." JalÃl ad-Dà �n Muhammad Rumi To get on or off this list see list information at [2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[6]eye-and-ear-cont...@protonmail.com 2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:edvihuel...@gmail.com 2. mailto:eye-and-ear-cont...@protonmail.com 3. mailto:edvihuel...@gmail.com 4. mailto:eye-and-ear-cont...@protonmail.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. mailto:eye-and-ear-cont...@protonmail.com 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino
This is the version Colin Everett, now deceased Canadian luther, made. He made several of these, 13 and 14 courses. Mine is 57/92 and tuned as an archlute in G. It us very easy to play and allows me to play everything from early Italian to Zamboni and all the English and french renaissance and transition repertoireI love it. Bruno Le jeu. 18 juin 2020 5 h 52 a.m., Davide Rebuffa <[1]davide.rebu...@fastwebnet.it> a écrit : > Il giorno 18 giu 2020, alle ore 11:16, Davide Rebuffa <[2]davide.rebu...@fastwebnet.it> ha scritto: > > Dear all, > > The instrument in Cleveland could be a a very rare example of a 14-course small archlute > (not a "liuto attiorbato" because it has single bourdons) > or a 14-course tiorbino in G. > The brand of the unknown manufacturer is present on the external countercap and bears the initials R. E. > The string lengths are 523 mm and 882 mm. > Since the string length is a bit long for a tiorbino, the third course could be tuned at the higher octave > only if the instrument is tuned in G, not in A. > It was converted into a 12-course instrument (2x1; 6x2; 4x2) by Sebastian Schelle in 1742. > Ray Nurse restored it in 1988 bringing it back to 6x2; 8x1 as we may assume it was in the 17th century. The bridge was also rebuilt. > The two extra pegs added in the 18th century were nor removed from the pegbox. > > Davide > >> Il giorno 18 giu 2020, alle ore 09:27, Martin Shepherd <[3]mar...@luteshop.co.uk> ha scritto: >> >> Hi All, >> >> I don't have many details of the Cleveland instrument, but I do have the poster! I see 14 pegs for the petit jeu (7x2) and 8 pegs for the grand jeu (4x2), making it a 12-course liuto attiorbato. I think it was Larry Brown who had some measurements, if I remember correctly the petit jeu is 61cm. >> >> Martin >> >> On 17/06/2020 22:37, Mathias Rösel wrote: >>> Dear David, dear Bruno, >>> thanks to both of you so much! >>> I agree that the Cleveland instrument, beautiful as it may be, seems more >>> likely to be a small arciliuto. And I'm grateful for your pointing at MH >>> Brussels No.1578. I shall try to get pictures and/or plans. >>> Mathias >>> >>> >>> >>> To get on or off this list see list information at >>> [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> -- >> This email has been checked for viruses by Avast antivirus software. >> [5]https://www.avast.com/antivirus >> >> > -- References 1. mailto:davide.rebu...@fastwebnet.it 2. mailto:davide.rebu...@fastwebnet.it 3. mailto:mar...@luteshop.co.uk 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. https://www.avast.com/antivirus
[LUTE] Re: Tiorbino
--ba078705a85c0e35 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable oops, forgot the pics Le jeu. 18 juin 2020 à 09:47, Bruno Cognyl-Fournier a écrit : > This is the version Colin Everett, now deceased Canadian luther, made. He > made several of these, 13 and 14 courses. Mine is 57/92 and tuned as an > archlute in G. It us very easy to play and allows me to play everything > from early Italian to Zamboni and all the English and french renaissance > and transition repertoire I love it. > > Bruno > > Le jeu. 18 juin 2020 5 h 52 a.m., Davide Rebuffa < > davide.rebu...@fastwebnet.it> a écrit : > >> >> >> > Il giorno 18 giu 2020, alle ore 11:16, Davide Rebuffa < >> davide.rebu...@fastwebnet.it> ha scritto: >> > >> > Dear all, >> > >> > The instrument in Cleveland could be a a very rare example of a >> 14-course small archlute >> > (not a "liuto attiorbato" because it has single bourdons) >> > or a 14-course tiorbino in G. >> > The brand of the unknown manufacturer is present on the external >> countercap and bears the initials R. E. >> > The string lengths are 523 mm and 882 mm. >> > Since the string length is a bit long for a tiorbino, the third course >> could be tuned at the higher octave >> > only if the instrument is tuned in G, not in A. >> > It was converted into a 12-course instrument (2x1; 6x2; 4x2) by >> Sebastian Schelle in 1742. >> > Ray Nurse restored it in 1988 bringing it back to 6x2; 8x1 as we may >> assume it was in the 17th century. The bridge was also rebuilt. >> > The two extra pegs added in the 18th century were nor removed from the >> pegbox. >> > >> > Davide >> > >> >> Il giorno 18 giu 2020, alle ore 09:27, Martin Shepherd < >> mar...@luteshop.co.uk> ha scritto: >> >> >> >> Hi All, >> >> >> >> I don't have many details of the Cleveland instrument, but I do have >> the poster! I see 14 pegs for the petit jeu (7x2) and 8 pegs for the grand >> jeu (4x2), making it a 12-course liuto attiorbato. I think it was Larry >> Brown who had some measurements, if I remember correctly the petit jeu is >> 61cm. >> >> >> >> Martin >> >> >> >> On 17/06/2020 22:37, Mathias Rösel wrote: >> >>> Dear David, dear Bruno, >> >>> thanks to both of you so much! >> >>> I agree that the Cleveland instrument, beautiful as it may be, seems >> more >> >>> likely to be a small arciliuto. And I'm grateful for your pointing at >> MH >> >>> Brussels No.1578. I shall try to get pictures and/or plans. >> >>> Mathias >> >>> >> >>> >> >>> >> >>> 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. >> >> https://www.avast.com/antivirus >> >> >> >> >> > >> >> >> >> --ba078705a85c0e35 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable oops, forgot the picsLe jeu. 18 juin 2020 à  09:47, Bruno Cognyl-Fournier <mailto:fournier...@gmail.com";>fournier...@gmail.com> a écrit :This is the version Colin Everett, now deceased Canadian luther, made. He made several of these, 13 and 14 courses. Mine is 57/92 and tuned as an archlute in G. It us very easy to play and allows me to play everything from early Italian to Zamboni and all the English and french renaissance and transition repertoire  I love it.BrunoLe jeu. 18 juin 2020 5 h 52 a.m., Davide Rebuffa <mailto:davide.rebu...@fastwebnet.it"; target="_blank">davi! de.rebu...@fastwebnet.it> a écrit : > Il giorno 18 giu 2020, alle ore 11:16, Davide Rebuffa <mailto:davide.rebu...@fastwebnet.it"; rel="noreferrer" target="_blank">davide.rebu...@fastwebnet.it> ha scritto: > > Dear all, > > The instrument in Cleveland could be a a very rare example of a 14-course small archlute > (not a "liuto attiorbato" because it has single bourdons) > or a 14-course tiorbino in G. > The brand of the unknown manufacturer is present on the external countercap and bears the initials R. E. > The string lengths are 523 mm and 882 mm. > Since the string length is a bit long for a tiorbino, the third course c
[LUTE] Re: The lute list is retiring soon
Oh that's too bad.. especially for the lute page...any way the page can be hosted sonewhere else ? I used to host on my own servers at home..but it became too difficult with staying up to date with security... Anyone have any free space somewhere? Bruno Le sam. 22 août 2020 à 16:35, Mike Madden <[1]mikemadden200...@hotmail.com> a écrit : Wayne Can I add to the torrent of well-deserved praise for what you have done. I am a hobby player, and your resource has been an invaluable one, giving access to materials that might otherwise be hard to come by for people like me. All the best in your retirement. Mike Mike Madden From: [2]lute-...@new-old-mail.cs.dartmouth.edu <[3]lute-...@new-old-mail.cs.dartmouth.edu> on behalf of Wayne <[4]wst...@cs.dartmouth.edu> Sent: 22 August 2020 19:04 To: lute net <[5]lute@cs.dartmouth.edu> Subject: [LUTE] The lute list is retiring soon Hi - I have been running this lute mail list since 1998, and it has been interesting and fun. Now I am retiring from my job at Dartmouth College, and when I retire the computers that I have run will be shut down. This includes the mail servers that run the lute mail list. So it is time to retire from running the lute mail list too. I will also be closing my lute web page, my lute tablature page, and "Lutes For Sale" web page. If someone wants to take up running the lute mail list I suggest that they announce it on my list in the next month, while my list is still running. My list runs using software that I wrote, and I don't recommend that someone else try to use it. I don't know the last day yet, but I will make an announcement when my list actually closes. Wayne To get on or off this list see list information at [1][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:mikemadden200...@hotmail.com 2. mailto:lute-...@new-old-mail.cs.dartmouth.edu 3. mailto:lute-...@new-old-mail.cs.dartmouth.edu 4. mailto:wst...@cs.dartmouth.edu 5. mailto:lute@cs.dartmouth.edu 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: This list is ending soon!
Thank you Wayne for everything, and happy retirement.!! Bruno Montreal Le mer. 30 sept. 2020 à 08:15, Jussi-Pekka Lajunen <[1]jlaju...@gmail.com> a écrit : Thank you so much Wayne! This list has been an invaluable source of information. Jussi-Pekka ke 30. syysk. 2020 klo 13.13 Wayne Cripps ([1][2]w...@cs.dartmouth.edu) kirjoitti: Hi Lute People - The Dartmouth lute list is ending in less than three hours. I certainly have learned a lot from all of you and I thank you all for taking part in it. Wayne To get on or off this list see list information at [2][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[4]w...@cs.dartmouth.edu 2. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:jlaju...@gmail.com 2. mailto:w...@cs.dartmouth.edu 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. mailto:w...@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
