[LUTE] Re: videos deleted
Thomas, Thank you for sharing - I enjoyed them - and to hell with the critics. Best regards, David Thomas Schall wrote: >Hi all, > >after the receipt of harsh critics I think it's better to delete the videos. >Thanks to the others for their positive input which will help to improve the >quality of videos and possibly my playing. > >Best wishes >Thomas >-- > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Re: Ttranscription of Morales: Puer natus est
Sorry, the files were semi-stale. I posted the newest ones just now - dated 2006-03-18. You might need to refresh your web browser or re-download. -- David David Cassetti wrote: >All, > >I've reposted a transcription of Morales: Puer natus est >I fixed it based on a different score (thanks Dr. Ness >for reminding me to check cpdl.org). Also I have since >learned to use Wayne's tab program to generate a midi >in order to check the tab for correctness. > >(French and Italian tab) >http://www.users.qwest.net/~leocassetti/puer_fr.pdf >http://www.users.qwest.net/~leocassetti/puer_fr.tab >http://www.users.qwest.net/~leocassetti/puer_it.pdf >http://www.users.qwest.net/~leocassetti/puer_it.tab > >The score is available at >http://www.cpdl.org/wiki/index.php/Main_Page >(search for: morales); specifically, the pdf is at: >http://wso.williams.edu/cpdl/sheet/mora-pu1.pdf > >I find this to be a very positive and uplifting piece that >only my fingers get tired of playing. > >Best, >David > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Morales - emendemus in melius
All, Ash Wed. always reminds me of "emendemus en melius" by Morales; I wonder if anyone has ever arranged this for lutes / vihuelas ? It's one of my favorites. Morales was a very impressive composer! A sequence with some home-made lute samples (for fun only - don't take this seriously) might give a rough idea of the result: [1]http://www.users.qwest.net/~leocassetti/emendemus.mp3 Below is a description of the piece by Gustave Reese in his book "Music in the Renaissance". Best, David Morales appears to have liked having one voice sing a text different from but relevant to that given to the others. ... The most striking example is probably the Emendemus in melius, in which Morales combines in a single composition the Ash Wednesday response: Emendemus in melius, quae ignoranter peccavimus: ne subito praeoccupati die mortis, quaeramus spatium poenitentiae, et invenire non possimus. Attende Domine, et miserere: quia peccavimus tibi. (Let us amend the sins that in our ignorance we have committed, lest the day of death come upon us suddenly, and we find no place for repentance, though we seek it. Hear, O Lord, and have mercy, for we have sinned against thee.) and the words the priest utters during its rendition, these words: Memento homo quia pulvis es, et in pulverem reverteris. (Remember, man, that thou art dust, and unto dust thou shalt return.) being assigned to the tenor, which sounds them six times ... The work is starkly powerful. References 1. http://www.users.qwest.net/~leocassetti/emendemus.mp3 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Two-part composition posted
All, I've posted a short two-part piece that I've been playing on 8C with 7=D, 8=C. There's a 10c version which I think works nicely but I don't have a 10c to try it on. I usually repeat once with some embellishments at the cadences. http://www.users.qwest.net/~leocassetti/dkc050528_10c.pdf http://www.users.qwest.net/~leocassetti/dkc050528_10c.tab http://www.users.qwest.net/~leocassetti/dkc050528_8c.pdf http://www.users.qwest.net/~leocassetti/dkc050528_8c.tab Best, David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Instruction videos
I noticed some short samples (with audio) of Ronn McFarlane at: [1]http://www.melbay.com/authors.asp?author=221 e.g. [2]http://www.melbay.com/video/20382V07.wmv [3]http://www.melbay.com/video/20382V08.wmv I bet some of his videos would be very helpful. BTW why hasn't anyone made some good videos of the workshops at the LSA festivals? To purchase through the LSA perhaps? The chances are slim to non that I'll ever make it to a festival. That's where the lute masters share their secrets. Best, David Daniel Shoskes wrote: I have 3 short videos on my lute file repository website that demonstrates tec hnique by Ron Macfarlaine and Pat O'Brien It is at homepage.mac.com/dshoskes in the lute files section under "Lute Techni que Movies" On Saturday, February 11, 2006, at 10:27AM, [4]<[EMAIL PROTECTED]> wrote: Are there any good lute instruction videos out there demonstrating historically informed technique on the Renaissance lute? I think just watchi ng someone with a well developed technique go through the motions would help a lo t. I've tried to get Christopher Berg to do this but to no avail. You can go to his site at the U. of South Carolina, Columbia and hear him play Baroque and Ren lute. Murdick -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. http://www.melbay.com/authors.asp?author=221 2. http://www.melbay.com/video/20382V07.wmv 3. http://www.melbay.com/video/20382V08.wmv 4. mailto:[EMAIL PROTECTED] 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
David, This is rather unusual for the lute list, but I have to admit it's one of the few times anything on the lute list made me laugh so much. Sorry, no offense, David David Rastall wrote: Many thanks to those who helped me track down Thomas Campion. As for this discussion below, it's sick. I thought perhaps I had missed something being off the list for nearly a year, but if this is what passes for sparkling repartee on the lute list these days, then adios muchachos! DR On Tuesday, January 3, 2006, at 05:26 PM, Daniel Shoskes wrote: And lower blows could produce 20 Ways Upon the Balls? (after which the perp is lying on the Ground) (in a first inversion) And of course, HIP police always aim for the Gut. DS On Tuesday, January 03, 2006, at 05:13PM, Roman Turovsky [1]<[EMAIL PROTECTED]> wrote: A simultaneous blow to bodyparts of 2 separate individuals will produce heterophony, and... An almost simultaneous blow to bodyparts of 2 separate individuals will produce imitative counterpoint. RT 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:[EMAIL PROTECTED] 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Simple composition posted
Apologies for my web site being inaccessible for days thanks to my ISP switching me to MSN mail without my consent. Here's another two-part piece in the dorian mode: http://www.users.qwest.net/~leocassetti/dkc050417_fr.pdf http://www.users.qwest.net/~leocassetti/dkc050417_fr.tab http://www.users.qwest.net/~leocassetti/dkc050417_it.pdf http://www.users.qwest.net/~leocassetti/dkc050417_it.tab Best, David David Cassetti wrote: >Hi All, > >I've posted a very simple and easy 2-part piece for 6C lute / vihuela >(actually 5C is sufficient) >in French and Italian tab / pdf > >http://www.users.qwest.net/~leocassetti/dkc050514_fr.tab >http://www.users.qwest.net/~leocassetti/dkc050514_fr.pdf >http://www.users.qwest.net/~leocassetti/dkc050514_it.tab >http://www.users.qwest.net/~leocassetti/dkc050514_it.pdf > >Enjoy and Happy Holidays, >David > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Simple composition posted
Hi All, I've posted a very simple and easy 2-part piece for 6C lute / vihuela (actually 5C is sufficient) in French and Italian tab / pdf http://www.users.qwest.net/~leocassetti/dkc050514_fr.tab http://www.users.qwest.net/~leocassetti/dkc050514_fr.pdf http://www.users.qwest.net/~leocassetti/dkc050514_it.tab http://www.users.qwest.net/~leocassetti/dkc050514_it.pdf Enjoy and Happy Holidays, David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Theorbo tablature
Rob, If you're looking for PDF you can use the free net distillery to convert .ps to .pdf [1]http://www.babinszki.com/distiller Just make sure to rename the file to have a .ps (not .eps) extension before you upload it. P.S. thanks very much for the nice recordings. Best, David Rob MacKillop wrote: Great resource, Gordon, but how many of us have a Postscript printer? Rob -Original Message- From: Gordon J. Callon [[2]mailto:[EMAIL PROTECTED] Sent: 13 November 2005 16:51 To: dc; [EMAIL PROTECTED] Subject: [LUTE] Re: Theorbo tablature In French tablature the diapasons or bordons are written as numbers and / or as extra "a" letters with slashes separately below the ruled lines (of the main six courses), viz: --- --- --- --- --- --- a /a //a ///a [etc.] [AND/OR] 4 5 [etc.] so that a = 7th course; /a = 8th course, ///a = 9th course, a = 10th course, etc.and 4 = 10th course [i.e., the number replacing the four slashes], etc. I have seen examples in original manuscripts that use both numbers and /a letters together, I guess depending on the space available under the main six courses. See, for example, Lambeth Palace Library MS 1041. I have a sample in PostScript format at my www site, the anonymous French song, with archlute or theorbo tablature, "Hola, hola Charon". See: [4]http://ace.acadiau.ca/score/archive/ftp.htm#A In Italian tablature these are shown usually with numbers above the ruled lines (of the main six courses), viz: 7 8 9 X --- --- --- --- --- --- I have samples in PostScript format at my www site, two pieces by Alessandro Piccinini. See: [5]http://ace.acadiau.ca/score/archive/ftp.htm#P GJC On 12 Nov 2005 at 14:50, dc wrote: Date sent: Sat, 12 Nov 2005 14:50:43 +0100 To: Lutelist [6] From: dc [7]<[EMAIL PROTECTED]> Subject:[LUTE] Theorbo tablature Are there any specific sites out there devoted to theorbo tablature? I found quite a few for the different lutes, but none for theorbo. I was wondering in particular how the unfretted strings were notated. Thanks, Dennis To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. http://www.babinszki.com/distiller 2. mailto:[EMAIL PROTECTED] 3. mailto:lute@cs.dartmouth.edu 4. http://ace.acadiau.ca/score/archive/ftp.htm#A 5. http://ace.acadiau.ca/score/archive/ftp.htm#P 6. mailto:lute@cs.dartmouth.edu 7. mailto:[EMAIL PROTECTED] 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Courante from the Wemyss Ms
Very nice, like a breath of fresh air. I really appreciate all of the links and wealth of information this forum provides. Best, David Alexander Batov wrote: >I wonder if some of you have not yet come across this recording of courante >from the Wemyss Manuscript on Rob MacKillop's web site (scroll down towards >the very bottom of the page): >http://www.musicintime.co.uk/sounds.htm > >Although Rob is not entirely happy with the performance the piece is >beautifully played by him (lute) and Steve Player (guitar). > >Alexander > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Re: Cabezon tiento intabulation
Hi Jim, I only recently rejoined the LSA so I don't have any jounals from 2004. If you and others could provide information on availability of Cabezon's works I'd greatly appreciate it. I know very little about Cabezon other than what I read in Reese's "Music in the Renaissance" that piqued my interest: The contents of Cabezon's Obras resemble those of the earlier tablature, but the quality is of a different order. Cabezon's mastery is everywhere apparent. Within a miniature frame it is found in the versillos - brief settings of the psalm-tones - each of which is a perfect gem. In one such set, the Versillos del primer tono, the plainchant appears successively in the soprano, alto, tenor and bass, accompanied each time by new polyphony. Formal balance on a grander scale is found in the tientos, which, in breadth and invention, surpass all other Spanish essays in this form. In richness of texture they are comparable to the fantasias of Fuenllana; the resources of the keyboard, however, allow a greater polyphonic unfolding than is possible on the technically more limited vihuela. Still another aspect of Cabezon's art is found in the diferencias, which were evidently an outgrowth of the older examples for vihuela. Equal in variety and freshness to those of Narvaez, the diferencias of Cabezon are further unified by one variation's proceeding without break to the next, thereby creating continuous music. Thanks and regards, David James A Stimson wrote: > > >Dear David and All: > The Cabezon tiento you intabulated is the same piece that I published in >the LSA Quarterly last year. > So far I've arranged about 20 Cabezon pieces, including at least one >tiento in each of the eight church modes. They seem to fit the vihuela >remarkably well for pieces written by a blind keyboardist. >Cheers, >Jim > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > >
[LUTE] Re: Cabezon tiento intabulation
Thanks for the compliment Göran,
I think this tiento is about as difficult as some of the Esteban Daza
fantasias for vihuela.
Best,
David
G. Crona wrote:
A very serene and beautiful *artificial* MP3 David!
Try to play it that well in your 6 course though ;)
B.R.
G.
- Original Message -
From: "David Cassetti" [1]<[EMAIL PROTECTED]>
To: "Lute net" [2]
Sent: Friday, November 11, 2005 6:03 PM
Subject: [LUTE] Re: Cabezon tiento intabulation
Thanks Göran,
It seems two measures are missing between 21 and 22 - I have supplied
them in the tab below.
Also, for fun, I posted an mp3 of a mptrack realization of the score
using some home-made lute samples:
[3]http://www.users.qwest.net/~leocassetti/cabet1.mp3
Best regards,
David
***
-t
-f
{Tiento I/Antonio de Cabezon}
b
c
0c
b
1 c
xb
b
xc
x a
b
xac
x df
b
x c e
x d
b
x dc
xa c
b
1. cde
2 d
b
1a cc
xc aa
b
x c e
xa e
b
x cd
x dfec
b
x ccee
2a c
x d
b
1 dfec
x caea
b
b
2 cc e
x a
x a ce
xc
b
1 a ec
x e
b
x a ac
x d c
b
x a
x c a
b
x d c
x c ce
b
1.c def
2 ac
b
1 cd e
xa c
b
xcda
2f a
x c
b
x cd
x a
1efh h
b
xfda
2e fg
xc
b
1acd
xeffc
b
2 dde
xc
1caaa
b
x cc e
xb
b
xc a c
x cd
b
1.ac
2cd
b
b
xef e
x f
1f h
b
x a c
xe
b
xf de
2c d
x a
b
x c c
xa c
1 dde
b
x ca
x cd
b
x daac
2ca
xa
b
1f d c
xf eef
b
xh a e
x dc
b
2f a ec
x c
x d e
x a
b
xec e
x d
1ffh e
b
xfa c
xef
b
b
2fcde
xc
xf
x dde
b
1ac e
xea c
b
2 a a
x d
1c a
b
x cc e
xb
b
xcca
x ca
b
x d
xaa c
b
x ca
2 d
x d
b
1aa c
xca a
b
x cd e
xb c
b
xc de
x a
b
xa e
x dfec
b
x cc e
x d
b
x cde
x cd
b
b
x ccc
xacc a
b
xc de
2 c c
x e
b
1ac a
x dfec
b
x cc
x cd a
b
x aa c
2 d a
x c
b
x cdca
x a
x a cee
xc
b
1 a ec
x e
b
0 aa c
b
b
b
e
***
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:[EMAIL PROTECTED]
2. mailto:lute@cs.dartmouth.edu
3. http://www.users.qwest.net/~leocassetti/cabet1.mp3
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cabezon tiento intabulation
The asterisks at the beginning and end should not be included with the tab. Best, David Mathias Rösel wrote: >yes, the pdf seems okay. But the *.tab was not. Obviously you fixed it. > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cabezon tiento intabulation
Hmm, I don't seem to have any problem pasting it into an email and sending it to [EMAIL PROTECTED] I posted the resulting PDFs for Italian and French tab at: http://www.users.qwest.net/~leocassetti/cabet1.pdf http://www.users.qwest.net/~leocassetti/cabet1f.pdf Best, David Mathias Rösel wrote: >Hi David, > >there's something gone wrong at the end of the tab and in between. > >Regards, > >Mathis > > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cabezon tiento intabulation
Thanks Göran,
It seems two measures are missing between 21 and 22 - I have supplied
them in the tab below.
Also, for fun, I posted an mp3 of a mptrack realization of the score
using some home-made lute samples:
http://www.users.qwest.net/~leocassetti/cabet1.mp3
Best regards,
David
***
-t
-f
{Tiento I/Antonio de Cabezon}
b
c
0c
b
1 c
xb
b
xc
x a
b
xac
x df
b
x c e
x d
b
x dc
xa c
b
1. cde
2 d
b
1a cc
xc aa
b
x c e
xa e
b
x cd
x dfec
b
x ccee
2a c
x d
b
1 dfec
x caea
b
b
2 cc e
x a
x a ce
xc
b
1 a ec
x e
b
x a ac
x d c
b
x a
x c a
b
x d c
x c ce
b
1.c def
2 ac
b
1 cd e
xa c
b
xcda
2f a
x c
b
x cd
x a
1efh h
b
xfda
2e fg
xc
b
1acd
xeffc
b
2 dde
xc
1caaa
b
x cc e
xb
b
xc a c
x cd
b
1.ac
2cd
b
b
xef e
x f
1f h
b
x a c
xe
b
xf de
2c d
x a
b
x c c
xa c
1 dde
b
x ca
x cd
b
x daac
2ca
xa
b
1f d c
xf eef
b
xh a e
x dc
b
2f a ec
x c
x d e
x a
b
xec e
x d
1ffh e
b
xfa c
xef
b
b
2fcde
xc
xf
x dde
b
1ac e
xea c
b
2 a a
x d
1c a
b
x cc e
xb
b
xcca
x ca
b
x d
xaa c
b
x ca
2 d
x d
b
1aa c
xca a
b
x cd e
xb c
b
xc de
x a
b
xa e
x dfec
b
x cc e
x d
b
x cde
x cd
b
b
x ccc
xacc a
b
xc de
2 c c
x e
b
1ac a
x dfec
b
x cc
x cd a
b
x aa c
2 d a
x c
b
x cdca
x a
x a cee
xc
b
1 a ec
x e
b
0 aa c
b
b
b
e
***
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Now we are one, forever (New Boy Gets Lute, and a cherry tree dies)
Master new boy, Regarding holding the lute, What has worked best for me is to use a strap and play standing up. Since my lute doesn't have a pin for a strap I took two soft leather trouser belts, buckled them together (making an adjustable strap), then put the strap over the left shoulder and under the right arm. The leather fits around the lower edge of the soundboard (toward the right foot, do this while sitting down for safety) and does not slip yet is soft enough not to damage the edge of the lute. In my opinion this is a very stable position to play (after a bit of acclimation and experimentation and making). In fact I never sit down to play any more (a great bonus for me after sitting down all day at work). Best, David saw 192837 wrote: The biggest thing is it seems impossible to hold. The thing has no guitar-like lap thing and just slides around. Do you use a strap? How do you hold this thing? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cabezon tiento intabulation
Hi all, Does anyone know if Cabezon's Tiento I - Primer Tono was ever intabulated ? The link to the score is at: http://icking-music-archive.org/scores/cabezon/cabt1.pdf This gem of a composition is clearly quite adaptable to lute / vihuela with very few issues. Thanks and regards, David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: FDM-83 fingering question
Thank you Ed and Stewart for the detailed analysis of fingering. It had escaped me about the octave stringing duplicating one of the voices in events 6 and 7 (which is probably what I'm hearing in O'Dette's recording). I've been using all four fingers in event 8 and hadn't considered Stewart's suggestion - right now it feels foreign, so I'll need to spend some more time with it. As to the similarity to the Dowland piece, could this be related to what O'Dette refers to in the liner notes? : ... Fantasia 83, which appears only in late sources, may not be his work. Its style is quite unusual for Il divino, particularly in the second half where the harmonies are more reminiscent of Lassus's famous chanson "Susanne un jour", than of Francesco's authenticated Fantasias. Also thanks to Wayne for debugging my email issue. Best, David Stewart McCoy wrote: Thanks to Ed for reproducing David's message, which arrived as a blank message the other day, and I had no idea what it was about. The passage under discussion is a tricky one. However, the really interesting bit is what follows, because that will determine to some extent what you do. I agree with Ed's fingering: |\|\ |\ |\ | |\ | |\ | | | | __1c___3e___1c__1c___1b__c__a___ ___2d___1c__2d_|__1c__|_ ___4f___2d__4f_|__1c_d|_ ___|_e___e|_ ___|__3e_f__e_|_ ___|__|_ 123 4 5 6 7 8 9 10 (= event numbers) You need a barré of some kind at the 2nd fret for events 3 and 4. It may as well stay there until event 7, which gives you the 4-3 suspension. You have to play e of event 6 with the 3rd finger, because you've just used the 4th finger at event 5. Anyway, you don't want any of that "4th-finger-on-the-low-courses" stuff, if you can possibly avoid it. That 3rd finger must sustain the bass from event 6 to 8. Now the fun begins. For event 7, the 1st finger lets go of the two notes at the 2nd fret, and reaches back for g'#. It doesn't matter that a couple of notes are lost, as long as the bass is held. The important thing is to stop that g# with the part of the finger nearest the palm of the hand, as if it were holding down a full barré, not just a single note. Now, what about the next chord? I suggest you look back at the extract above, and when you've thought what to do, scroll down for my solution. |\|\ |\ |\ | |\ | |\ | | | | __1c___3e___1c__1c___1b__1c__a___ ___2d___1c__2d_|__1c___|_ ___4f___2d__4f_|__1c_1d|_ ___|_2e__2e|_ ___|__3e_3f_3e_|_ ___|___|_ 123 4 5 6 7 8 9 10 (= event numbers) Fortunately events 7 and 8 produce an interrupted cadence, involving an unexpected chord. This means that a slight gap before event 8 (for technical reasons) produces a dramatic effect (for musical reasons). The first finger has to cover two notes at different frets. It helps to turn the fingers so that they are more parallel to the strings, not at the usual 90 degrees. The 3rd finger can stay touching the 5th course as it slides from event 7 to 8, and on to 10. I have described the use of this chord before. It's a jolly useful fingering, so I guess it does no harm mentioning it again in this context. If you want to put off learning it for a rainy day, then use the 4th finger for notes on the 5th course (events 6 and 8). That's an option here, and may prove useful at the end of the piece, but you don't always have the luxury of a choice. -o-O-o- By the way, did you notice Dowland's "I'll cut the string", from No. 1 of his _First Booke of Songes_ (London, 1597), from bars 26 to 28? I think it's probably just a coincidence. |\ |\ ||\ || ___a__a_a__ _c__c___|_a__a__d__d_|__a__c__dc_|_ _c__|c__f__f_|_d___dd|_ |_c__c___|_e__e__|_ _ee_|___c__c_|_f___a_|_ ____|____|___|_ Best wishes, Stewart. - Original Message - From: "Ed Durbrow" [1]<[EMAIL PROTECTED]> To: "David Cassetti" [2]<[EMAIL PROTECTED]>; [3] Sent: Tuesday, August 30, 2005 12:19 PM Subject: *** SPAM *** [LUTE] Re: FDM-83 fingering question On Aug 29, 2005, at 1:16 PM, David Cassetti wrote:
[LUTE] FDM-83 fingering question
Hi all, I have a question about fingering a passage of Francesco da Milano's Fantasia 83 starting a measure 23: 1 2 2 ___c___e__c___cb |__d___c__d|__c_ |__f___d__f|__c_ |__| |__|__e_ |__| The question is how to finger the end of measure 23 and measure 24? Thanks and regards, David Note - you will need to use a fixed width font to see this correctly To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] FDM-83 fingering question
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Re: memorization
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Re: left hand thumb to stop bass notes
Now all this discussion has me wondering if F. da Milano might have used his left thumb for the following passage at the end of one of his fantasias: 1 1.2 0 _ |__c_|___c:||| |__d_|___c:||| |b___|___d:||| |__e_|___e:||| |__c___b___c_|:||| I also wonder how those of you deal with the lack of an extra finger. I also wonder why FDM didn't just play it the "logical way" (to me anyway): 1 1.2 0 _ |__c_|___c:||| |__d_|___c:||| ||___d:||| |__e_g___|___e:||| |__c___b___c_|:||| Best regards, David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Francesco da Milano piece
Hi all, Could someone identify for me the Ness # of the following F. da Milano piece? http://www.users.qwest.net/~leocassetti/fdm01.mp3 Thanks and regards, David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.5 - Release Date: 2/3/2005 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
Thanks to everyone for the advice on playing a modern classical guitar thumb-under without nails. Today I moved the strings over by one and used a thinner 1st string (.020" , 0.51mm), resulting in a tension of about 4 kg / string. To my surprise the tone did not suffer (except for the g string being tuned down to d - I replaced it with a Pyramid 1010 silver-wound). And it's much easier to play. The wound basses sustain noticeably longer, so extra attention must now be paid to damp them. -- David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.12 - Release Date: 1/14/2005 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: new vihuela and baroque guitar discussion group
Dear Rob, Baroque guitar makes perfect sense as a separate discussion group. But is vihuela fundamentally any different from 6c lute (other than dedillo technique). Would this be a vihuela builder discussion group? Or are we talking about the vihuelas used in today's mariachi bands? Thanks, David Rob MacKillop wrote: >I have created (with the technical wizardry of Wayne Cripps) this new >discussion group for vihuela and baroque guitar as there are quite a number >of people who wish to discuss matters pertaining to these instruments >without joining lute or classical guitar lists. There is much to discuss - >composers, repertoire, instruments, performers, technique, interpretation, >etc, etc. I look forward to reading your contributions, large or small, >whether you play the instruments or not. > > > >Please avoid deliberate personal provocations. We are all in this >together... > > > >As this is already up and running, please advertise the fact to everyone who >might be interested. I failed to get this working via Google, but Wayne's >technological know-how has come to the rescue. There should be no problems >subscribing this time. Originally I intended only to concentrate on the >vihuela, but have now decided to include the baroque guitar (many of which >were called vihuelas, anyway). > > > >Wayne Cripps has helped me get the vihuela and baroque guitar discussion >group up and running. There will be no problem subscribing. Just send a >blank email to [EMAIL PROTECTED] with the word 'subscribe' in >the subject box. From then onwards send messages to [EMAIL PROTECTED] > > > >Rob MacKillop > > > > > > >-- > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.12 - Release Date: 1/14/2005
Top three lute pieces
Hi everyone, I'm very curious to know what your top three lute (vihuela, etc.) pieces are and why. I'm interested in expanding my knowledge of the vast reams of lute tablature and trying to play through the Fronimo Dialogo doesn't seem to be cutting it ... I'll start of with my own list: 1. Francesco da Milano - Fantasia from the Castelfranco MS. This piece appears as the first track of Paul O'Dette's "Dolcissima et Amorosa". Four minutes of the best Francesco has to offer, I'd love to get a hold of the tab somehow. 2. Luis Narvaez - Variations on "O Gloriosa Domina". Long after "Guardame las Vacas" becomes old hat you can continue to drink from this fountain. A cantus firmus runs through all the variations. The penultimate variation is my favorite. 3. Diomedes Cato - Fantasia sopra "la Canzon degli Ucelli" Actually a fugue on a very simple subject, but what a development of deep ideas! It's on O'Dette's Cherbury CD and it's the reason I must eventually own a 10c lute. Best regards, David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.10 - Release Date: 1/10/2005 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: A mystery piece
Thanks to all who helped me identify the piece. I went ahead and ordered the Chilesotti from Lyre Publications. -- David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.298 / Virus Database: 265.6.7 - Release Date: 12/30/2004 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
A mystery piece
Hello all, Many years ago I had a classical guitar book containing "three 15th century pieces". I no longer have the book and am playing it from memory: http://www.users.qwest.net/~leocassetti/anon1r.mp3 If someone would be so kind to identify it for me I would be very grateful. At any rate, enjoy, and happy new year! -- David -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.298 / Virus Database: 265.6.7 - Release Date: 12/30/2004 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
James, I have a Takamine Hirade Arte Ten Concert Model made in 1989. With nails it sounded great, lots of volume and projection. Without nails thumb under it doesn't sound bad, but it's rather dull and quiet by comparison. Getting volume and tone seems to take a lot of effort. I tried the Alaska Piks and the sound was much better but they still require some fingernail to fit under, and they're a bit bulky. I guess my point is that I have a nice instrument that doesn't get any playing time, but if I could find a quick and easy way install fingernails, or found a set of strings more suitable for playing without nails, I might pick it up more often. I'd like to play some of the classical guitar repertory, but also some non-standard pieces (e.g. Luis de Milan's fantasia 13) that sound fantastic on a modern classical guitar with nails. The problem is even worse with a steel-string guitars, which I would also like to play. -- David [EMAIL PROTECTED] wrote: In a message dated 12/14/2004 7:34:13 PM Pacific Standard Time, [EMAIL PROTECTED] writes: That's very interesting. If you have any insight into how your student achieves such a sound I'm all ears. Before obtaining a lute I played classical guitar thumb-under without nails (about 8 years). While it was better than nothing, I found that it took a great deal of effort to get any sound volume compared to nails. The very high tension of the guitar strings seem to be one of the problems. The modern classical guitar seems very unresponsive to finger pads. Now that I have a lute the contrast seems accentuated because the lute is so "live". Hi David, I also have a student who plays a regular classical guitar "thumb under" and sounds fine; although he does have large hands and his natural strength probably helps him get volume. You might try a light tension string set; but it's hard to diagnose the problem through e-mail. What kind of guitar are you playing? There are guitars that are more lightly built and could serve you better, perhaps? I might be able to help more if I knew where you're coming from with this question. You have a lute and seem happy with that; are you wanting to play modern guitar repertoire also? James References 1. mailto:[EMAIL PROTECTED] 2. mailto:[EMAIL PROTECTED] To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
Hi Eugene, That's very true but most if not all of those guitarists used thumb-out technique. I'm trying to stick with thumb-under. -- David EUGENE BRAIG IV wrote: This is nothing new. The domination of nails in guitar technique is relatively recent and was still debated well after 6-string guitars became the standard. Fernando Sor himself advocated nail-less technique. Best, Eugene In a message dated 12/14/2004 6:38:46 PM Pacific Standard Time, [EMAIL PROTECTED] writes: I bet a lot of lute-netters have a classical guitar laying around in its case. I wonder what solutions have been invented to play the guitar without maintaining fingernails 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:[EMAIL PROTECTED] 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
James, That's very interesting. If you have any insight into how your student achieves such a sound I'm all ears. Before obtaining a lute I played classical guitar thumb-under without nails (about 8 years). While it was better than nothing, I found that it took a great deal of effort to get any sound volume compared to nails. The very high tension of the guitar strings seem to be one of the problems. The modern classical guitar seems very unresponsive to finger pads. Now that I have a lute the contrast seems accentuated because the lute is so "live". Thanks, David [EMAIL PROTECTED] wrote: >In a message dated 12/14/2004 6:38:46 PM Pacific Standard Time, >[EMAIL PROTECTED] writes: >I bet a lot of lute-netters have a classical guitar laying around in its >case. I wonder what solutions have been invented to play the guitar >without maintaining fingernails: >Hi David, > > I have a guitar student who plays without nails on a standard classical >guitar, with nylon strings, and he gets a beautiful sound. > >James > >-- > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
Re: Technical work
Wow, I would have expected a lot more feedback from the lute-net on this question. I don't yet have a regular set of exercises, but I'm in the process of formulating this sort of thing. The basic idea is to start off with the most relaxing exercise (in my case simple scales with alternating p-i, arpeggios with easy chord formations using p-i-m-i-a-i-m-i, etc.), with a very incremental increase in difficulty such that a high degree of relaxation is maintained and no single muscle group is overstudied. I'm currently trying to formulate the right sequence of exercises pieces graded in difficulty such that the transition to the new works being studied is as smooth as possible. Some pieces appear very simple but are actually challenging from a relaxation standpoint. Currently I'm getting most of my practice material from the easier Francesco da Milano, Luis de Milan, and (surprisingly) the Carcassi guitar method. If I were more familiar with the vast lute repertory I would be in a better position to pick and choose. I hope some experienced lutenists (which I am definitely not) chime in here ... -- David Andrew White wrote: >Hey guys > >I have been working on set of scales, exercises & pieces(that have some >technical importance) as a daily sort of work out and I was wondering >what other people do. For example what sorts technical exercises do you >find beneficial & what pieces work well as a technical study..etc > >Andy > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
Re: Instrument Sounding
Thanks for sharing - very interesting sound - are you using fingernails? I'd like to convert my old Aria classical guitar to a wide-necked 12-string. It would be cool to have a "kit" with some simple instructions: "saw off the tuning box, glue on the supplied pegbox, ... - voila!" I bet a lot of lute-netters have a classical guitar laying around in its case. I wonder what solutions have been invented to play the guitar without maintaining fingernails: - Use artificial nails (Alaska picks comes close but still requires some existing nail growth) - Use different strings (lower tension, gut, etc.) - Remove the finish to get a better sound without nails. - etc? -- David rosinfiorini wrote: >Dear ppl, recently i adapted this guitar to a six course instrument (not very >refined visually:) >http://perso.wanadoo.fr/raydimitry/imagini/coursesix.jpg >To whoever may want to make something similar or who is curious how such a >"thing" would sound, >i recorded a short piece-soundfile here: >http://perso.wanadoo.fr/raydimitry/soni/AdieuMezAmourz.mp3 >i play (..somehow-lol), part of this very charming piece-Adieu Mez Amourz as >reinterpreted by Newsiedler. >I learned it from Jacob Heringman's CD of Josquin Dez Prez pieces >reinterpreted by other composers. >Probably most of you are famigliar with his (Jacob's) creations but to those >who are not i highly recommend >listening to him. It is a pure inspiration as he has this exquisit feeling >coming through his playing of rare >blend of fluidity, delicate personal touch of artistically applied dynamics to >the pieces, humbleness and serenity. >-- > >Faites un voeu et puis Voila ! www.voila.fr > > >-- > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
Re: lute tablatures online
All, The following is a list of the useful files from lute-librairie you can access directly without executing java. -- David http://www.ifrance.com/luth-librairie/AFseconda.zip http://www.ifrance.com/luth-librairie/aquilla.zip http://www.ifrance.com/luth-librairie/arioso-nr31.pdf http://www.ifrance.com/luth-librairie/attaignant.zip http://www.ifrance.com/luth-librairie/bacheler_johnson.zip http://www.ifrance.com/luth-librairie/baron.zip http://www.ifrance.com/luth-librairie/berhandizki-tombeaux.pdf http://www.ifrance.com/luth-librairie/bibert.pdf http://www.ifrance.com/luth-librairie/B.J.Hagen-bio.pdf http://www.ifrance.com/luth-librairie/bouquetchansons.zip http://www.ifrance.com/luth-librairie/bouquet_luth%20.zip http://www.ifrance.com/luth-librairie/bouquetpavanes.zip http://www.ifrance.com/luth-librairie/brescianello.pdf http://www.ifrance.com/luth-librairie/cataloguevarsovie.PDF http://www.ifrance.com/luth-librairie/chansons-de-thomas-campion.pdf http://www.ifrance.com/luth-librairie/cherbury.pdf http://www.ifrance.com/luth-librairie/concerto-r%E9.zip http://www.ifrance.com/luth-librairie/crema%20.zip http://www.ifrance.com/luth-librairie/de-rippe.zip http://www.ifrance.com/luth-librairie/de-vis%E9e_dessus-BC.pdf http://www.ifrance.com/luth-librairie/deviseeagen.zip http://www.ifrance.com/luth-librairie/Django-fontes.zip http://www.ifrance.com/luth-librairie/dresde1.zip http://www.ifrance.com/luth-librairie/dresde2.zip http://www.ifrance.com/luth-librairie/dresde3.zip http://www.ifrance.com/luth-librairie/dresde4.zip http://www.ifrance.com/luth-librairie/duetto-falkenhagen.pdf http://www.ifrance.com/luth-librairie/dufau2%20.zip http://www.ifrance.com/luth-librairie/DUFAUT-solm.pdf http://www.ifrance.com/luth-librairie/dufaut.zip http://www.ifrance.com/luth-librairie/Falcprima.zip http://www.ifrance.com/luth-librairie/fuhrmann-1.rar http://www.ifrance.com/luth-librairie/fuhrmann-2.rar http://www.ifrance.com/luth-librairie/gallot2.zip http://www.ifrance.com/luth-librairie/GALLOT.zip http://www.ifrance.com/luth-librairie/gaulter-2%E8livre.zip http://www.ifrance.com/luth-librairie/GAULTIERDIEUX.pdf http://www.ifrance.com/luth-librairie/gaultierlivre1.zip http://www.ifrance.com/luth-librairie/gianoncell1.zip http://www.ifrance.com/luth-librairie/gianoncelli2.zip http://www.ifrance.com/luth-librairie/hagen-sonata-sib.pdf http://www.ifrance.com/luth-librairie/Haydn-faM.pdf http://www.ifrance.com/luth-librairie/hinterleithner.pdf http://www.ifrance.com/luth-librairie/K4.djvu http://www.ifrance.com/luth-librairie/Kapsberger.zip http://www.ifrance.com/luth-librairie/kapschit1.djvu http://www.ifrance.com/luth-librairie/kapschit1.zip http://www.ifrance.com/luth-librairie/kapsIV-1.zip http://www.ifrance.com/luth-librairie/kapsIV-2.pdf http://www.ifrance.com/luth-librairie/kellners.zip http://www.ifrance.com/luth-librairie/kohaut-diverLVB.zip http://www.ifrance.com/luth-librairie/kohaut.zip http://www.ifrance.com/luth-librairie/Kropffganz.zip http://www.ifrance.com/luth-librairie/lachrimae-violes.zip http://www.ifrance.com/luth-librairie/leroy1er.zip http://www.ifrance.com/luth-librairie/leroy.zip http://www.ifrance.com/luth-librairie/Links-02.gif http://www.ifrance.com/luth-librairie/melli2.pdf http://www.ifrance.com/luth-librairie/melli3.pdf http://www.ifrance.com/luth-librairie/melli3pr%E9face.zip http://www.ifrance.com/luth-librairie/melli4.pdf http://www.ifrance.com/luth-librairie/melli5-pr%E9face.pdf http://www.ifrance.com/luth-librairie/melli.djvu http://www.ifrance.com/luth-librairie/melli-%E0-4.pdf http://www.ifrance.com/luth-librairie/melliquinto.pdf http://www.ifrance.com/luth-librairie/milano3.zip http://www.ifrance.com/luth-librairie/milano7.zip http://www.ifrance.com/luth-librairie/Milleran.zip http://www.ifrance.com/luth-librairie/moscou2.zip http://www.ifrance.com/luth-librairie/Mouton.zip http://www.ifrance.com/luth-librairie/oeuvres-Dowland.zip http://www.ifrance.com/luth-librairie/orphee.zip http://www.ifrance.com/luth-librairie/pageboucquet.djvu http://www.ifrance.com/luth-librairie/paladin1560i.zip http://www.ifrance.com/luth-librairie/paladin.zip http://www.ifrance.com/luth-librairie/pavanes-lachrimae.zip http://www.ifrance.com/luth-librairie/Perrine%201680,%20Advertissement.pdf http://www.ifrance.com/luth-librairie/Piccinini-instructions.pdf http://www.ifrance.com/luth-librairie/pi%E8ces.J.S.B.zip http://www.ifrance.com/luth-librairie/pi%E9ces-Kropffganz.zip http://www.ifrance.com/luth-librairie/pifaro%20.zip http://www.ifrance.com/luth-librairie/praetorius.pdf http://www.ifrance.com/luth-librairie/Preface.pdf http://www.ifrance.com/luth-librairie/RobinsonsToy_stacked.pdf http://www.ifrance.com/luth-librairie/rosetab.zip http://www.ifrance.com/luth-librairie/stluc.pdf http://www.ifrance.com/luth-librairie/straube.zip http://www.ifrance.com/luth-librairie/The%20Willow%20Song.pdf http://www.ifrance.com/luth-librairie/trombocino.pdf http://www.ifrance.com/luth-librairie/varsovie2.zip http:/
Re: Broken string - thank you
Caroline, I had a similar experience with wound 4th courses breaking, one towards the bridge side, the other in the middle. I believe the small diameter of the wound course (0.48 mm) is responsible for the short lifespan. I'd recommend using a plain gut or carbon string for the 4th course. Regards, David Caroline Chamberlain wrote: >Dear Lute Listers > >I should like to thank everyone who has so kindly offered suggestions about >my broken string. I have a lot to think about now, and various strategies >to try. For those who might be interested, the lute is a new, 8 course >Renaissance lute, and was made by the Early Music Shop in the UK. I ordered >it in June and it was finally arrived in early November, but was held up in >Customs for a further week whilst I sorted out endless paperwork and a bill >for GST. As far as lutes go, it was relatively cheap. For me, it was >sensible not to spend a huge sum partly because I didn't have it and partly >because I wanted to determine whether or not I would take to lute playing. >I am personally very pleased with it, though of course it is not as fancy >as many of the instruments one can see on the world wide web which also >come with hefty price tags. The lute came strung with "Pyramid" strings and >the lower courses are tuned in octaves, although I have read that many >prefer a unison tuning. At this stage, that is the least of my worries. >Fortunately, I ordered spare strings, so was able to replace the broken one >straight away. > >Today has been quite hot, 38 degrees here in Brisbane, and humid - so I >won't be attempting to play the lute until later this evening. I think, >under these weather conditions, that perspiration might be a problem if one >were to play unclothed. The lute would probably slip around more than >usual, so I shall keep my clothes on! Also, I realise that I must keep >trying to play as I don't want my nose to fall off - no nose, no clothes >... the mind boggles. > >My mother offered me a stand for the lute as my Christmas present, however, >she has since retracted the offer and is now insisting that I need a new >pair of shoes. > >Best wishes, and thanks again. > >Kind regards > >Caroline >Caroline Chamberlain BSc (Hons) >Scientific Officer >Department of Biochemistry and Molecular Biology >School of Molecular and Microbial Sciences >University of Queensland >Brisbane QLD 4072 > >Tel: + 61 7 3365 4606 >Fax: + 61 7 3365 4699 > > > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
Re: Rubato and rolling chords - Milan
Given the preceding nearly identical passage: _aa |_d___b_|_a_ _| a__b|_a__b__d___|__c__|_d__ __c_|_a_|_c___| |___|_|_a__ |___|_| I have been interpreting the "d" in the second measure of both passages as the beginning of a suspension. _a _b__a___|_d|_a_ _| ___d__b_|_a__b__d__|__c__|_d__ _c__|_a|_c___| _a__|__|_|_a__ |__|_| thus making the open first course in the third measure of both passages as a "bonus" note. Is this not the correct interpretation? Is this type of thing open to conjecture? It would take some adjustment for me to think of these passages as strict 3-part harmony. Thanks, David Stewart McCoy wrote: Dear All, Antonio sent me this message the other day, but forgot to c.c. it to the Lute List. He has asked me to pass it on. Stewart McCoy. - Original Message - From: "Antonio Corona" [1]<[EMAIL PROTECTED]> To: "Stewart McCoy" [2]<[EMAIL PROTECTED]> Sent: Friday, November 05, 2004 6:13 AM Subject: Re: Rubato and rolling chords - Milan Dear Stewart, Your analysis is most convincing, from a purely theoretical position. However, I would like to raise another point which. I believe, is of special relevance in the case of Milan, namely: how much should we evaluate or analyse his music from a strict theoretical perspective? You have shown that Milan is quite capable of writing "correctly" part music, and also succeded in showing that he was not overly concerned with following the rules. My suggestion about the particular rolling of the chord was not prompted - in the first instance - from a desire to make clear a somewhat obscure polyphony (in the case under discussion it could be argued that the open first course could have been either the first note of the following phrase or a fill-in; I suspect it was the latter, considering the unique idiomatic nature of these fantasias), but from curiosity as to how much a more active role of the index could affect the music itself. One of the examples you quote provides another good example of how effective this technique could be: |\ |\ |\ | | roll | roll _a _b__a___|_d|_a_ _| ___d__b_|_a__b__d__|__c__|_d__ _c__|_a|_c___| _a__|__|_|_a__ |__|_| In the second bar you have another clear case for plucking both courses with the index, thereby stressing the open third course. I would do the same in the third bar, emphasizing the inner voice which has a much more active role. Thus, your melody would sound clearly as: F-E-D-C-B-C-D / E-C#-D. You´ll notice that the upper notes are quite devoid of a particular context regarding what came before and what follows and may therefore considered as fill-ins: |\ |\ |\ | | roll | roll __ _b__a___|__|_a_ _| ___d__b_|_a__b__d__|__c__|_d__ |__|_| |__|_| |__|_| In any case, I think it's an interesting possibility that merits studying in more detail. Milán's music is so filled with cases as these that I suspect the music could maybe tell us something about the way in which Milan actually played. All the best, Antonio P.S. I don´t think Milan was too much concerned about parallel fifths and octaves: I see his approach as more pragmatic and concerned with effect, something which he achieves admirably. 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:[EMAIL PROTECTED] 2. mailto:[EMAIL PROTECTED] 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: help me - what to buy???
Michael, I bought one of those cheap lutes (Mid-East Manufacturing) from E-Bay about 2 yrs. ago after looking at John Buckman's web site (http://www.john.redmood.com/improvebargainlute.html). The 8-course instrument with case cost me $385 (including shipping). I decided I wanted something to practice on before buying a more expensive instrument. The improvents I made were: 1. Lowered the action by sanding down the nut. 2. Since the nut wasn't thick enough (it's as if the grooves were made in the wrong orientation), I added a thick copper wire so that the strings wouldn't rub against the wood neck as they pass into the pegbox.. 3. I added toothpicks to 3 of the (nylon) frets to tighten them up. 4. I replaced some of the strings (esp. the wound 4th course and some false trebles) I have posted a sound sample (amateur, cheap mikes) and picture of this lute. http://www.users.qwest.net/~leocassetti/fdm31.mp3 http://www.users.qwest.net/~leocassetti/lute.jpg (You can actually see the copper wire to the left of the nut). This is not in any way an endorsement, and results may vary. But my experience was positive. Hope this helps, David
Re: Francisque
I just created a local file with a .m3u extension with the following contents, then opened the file with Windows Media Player / Winamp so I could hear the whole series. -- David http://www.jamesedwardsguitar.com/mp3/14_01.mp3 http://www.jamesedwardsguitar.com/mp3/14_02.mp3 http://www.jamesedwardsguitar.com/mp3/14_03.mp3 http://www.jamesedwardsguitar.com/mp3/14_04.mp3 http://www.jamesedwardsguitar.com/mp3/14_05.mp3 http://www.jamesedwardsguitar.com/mp3/14_06.mp3 http://www.jamesedwardsguitar.com/mp3/14_07.mp3 http://www.jamesedwardsguitar.com/mp3/14_08.mp3 http://www.jamesedwardsguitar.com/mp3/14_09.mp3 http://www.jamesedwardsguitar.com/mp3/14_10.mp3 http://www.jamesedwardsguitar.com/mp3/14_11.mp3 http://www.jamesedwardsguitar.com/mp3/14_12.mp3 http://www.jamesedwardsguitar.com/mp3/14_13.mp3 http://www.jamesedwardsguitar.com/mp3/14_14.mp3 http://www.jamesedwardsguitar.com/mp3/14_15.mp3 http://www.jamesedwardsguitar.com/mp3/14_16.mp3 http://www.jamesedwardsguitar.com/mp3/14_17.mp3 http://www.jamesedwardsguitar.com/mp3/14_18.mp3 http://www.jamesedwardsguitar.com/mp3/14_19.mp3 http://www.jamesedwardsguitar.com/mp3/14_20.mp3 http://www.jamesedwardsguitar.com/mp3/14_21.mp3 http://www.jamesedwardsguitar.com/mp3/14_22.mp3 http://www.jamesedwardsguitar.com/mp3/14_23.mp3
Morales Intabulation - puer natus est
Hi, all, I made a 6c lute intabulation of "Puer natus est" by Cristobal Morales from a midi file I found on the web (disclaimer: I'm not a music scholar so its accuracy is in question). This little 3-part gem almost seems as if it were written for lute / vihuela. The leading tone triad in root position with no 3rd at the end of measure 11 is unusual - maybe the 3rd should be in the bass? Here are the links to the tab and french / italian pdfs: http://www.users.qwest.net/~leocassetti/puer.tab http://www.users.qwest.net/~leocassetti/puer.pdf http://www.users.qwest.net/~leocassetti/puer_it.pdf -- David
Re: Mystery piece
I stumbled across the midi file - it's "Maria Zart", by Arnolt Schlick, a german organist who in 1511 published a treatise on organ building and playing. Below are links to the midi, text, and an mp3. -- David http://members.ozemail.com.au/~davcooke/icerinx/schlick1.mid http://www.andreasschollsociety.scholl.com/biography.htm#MZ http://www.andreasschollsociety.scholl.com/MariaZart.mp3 David Cassetti wrote: >Hi, All, > >In '83 I recorded excerpts from a library LP with miscellaneous >composers (organ), at a time when I was unfamiliar with pre-Bach >composers, and I didn't write down anything about the album. It had >Frescobaldi, Pachelbel, Buxtehude, and others. > >I've been wondering who was the composer of the first piece on the album >for all these years. It's in 3 parts and I think it's in the Phrygian mode. > >Not only do I think it's cool, the lower two parts fit very nicely on a >7 course lute and seem very idiomatic. - the lowest note is F. > >I transcribed it by ear to a midi file and have posted it: > > http://www.users.qwest.net/~leocassetti/MYSTORG.MID > >I figure the collective knowledge of the lute-net might help me solve >the mystery, and some of you might find this interesting as a possible >arrangement with lute accompaniment. I've been playing along in a "music >minus 1" mode. > >Thanks, >David > > > > > >
Re: Mystery piece
The net distillery server is down. I had to use a linux system to run ps2pdf. The pdf is at: http://www.users.qwest.net/~leocassetti/mystorg.pdf -- David Ron Fletcher wrote: >Mm, sounds complicated, > >I do have Adobe Acrobat for PDF files if I can download this piece direct > > >Best Wishes > >Ron >-Original Message- >From: David Cassetti [SMTP:[EMAIL PROTECTED] >Sent: 04 April 2004 16:36 >To:Lute net >Subject: Re: Mystery piece > > > Ron, > If you paste the tab text into the body of an email and mail it to > [EMAIL PROTECTED] , you will get back a postscript file. > If you want a PDF file you can convert the pdf on the net distillery: > [2]http://www.babinszki.com/distiller > Hope that helps, > -- David > Ron Fletcher wrote: > >Hi David, > >The hyperlink opens my Fronimo program, but unfortunately the ability to import > a TAB program is also disabled in my version. > >I have downloaded it to my desktop, but I cannot access it until I >a) install 'Waynes TAB program. or >b) install the licensed version of Fronimo > >Thanks for trying > >Best Wishes > >Ron >-Original Message- >From: David Cassetti [[3]SMTP:[EMAIL PROTECTED] >Sent: 04 April 2004 05:46 >To: Lute net >Subject:Re: Mystery piece > >I don't have Fronimo, but I have posted the tab: > > [4]http://www.users.qwest.net/~leocassetti/mystorg.tab > >-- David > >Ron Fletcher wrote: > > > >Hi David, > >Excellent! If you happen to have a version of it in a Fronimo file, I would be > happy for you to send it to me. > >Best Wishes > >Ron Fletcher >Loughborough >East Mids.UK > >-Original Message- >From: David Cassetti [[5]SMTP:[EMAIL PROTECTED] >Sent: 03 April 2004 03:36 >To: Lute net >Subject:Mystery piece > >Hi, All, > >In '83 I recorded excerpts from a library LP with miscellaneous >composers (organ), at a time when I was unfamiliar with pre-Bach >composers, and I didn't write down anything about the album. It had >Frescobaldi, Pachelbel, Buxtehude, and others. > >I've been wondering who was the composer of the first piece on the album >for all these years. It's in 3 parts and I think it's in the Phrygian mode. > >Not only do I think it's cool, the lower two parts fit very nicely on a >7 course lute and seem very idiomatic. - the lowest note is F. > >I transcribed it by ear to a midi file and have posted it: > > [6]http://www.users.qwest.net/~leocassetti/MYSTORG.MID > >I figure the collective knowledge of the lute-net might help me solve >the mystery, and some of you might find this interesting as a possible >arrangement with lute accompaniment. I've been playing along in a "music >minus 1" mode. > >Thanks, >David > >References > > 1. mailto:[EMAIL PROTECTED] > 2. http://www.babinszki.com/distiller > 3. mailto:SMTP:[EMAIL PROTECTED] > 4. http://www.users.qwest.net/~leocassetti/mystorg.tab > 5. mailto:SMTP:[EMAIL PROTECTED] > 6. http://www.users.qwest.net/~leocassetti/MYSTORG.MID > > > > > >
Re: Mystery piece
Ron, If you paste the tab text into the body of an email and mail it to [EMAIL PROTECTED] , you will get back a postscript file. If you want a PDF file you can convert the pdf on the net distillery: [2]http://www.babinszki.com/distiller Hope that helps, -- David Ron Fletcher wrote: Hi David, The hyperlink opens my Fronimo program, but unfortunately the ability to import a TAB program is also disabled in my version. I have downloaded it to my desktop, but I cannot access it until I a) install 'Waynes TAB program. or b) install the licensed version of Fronimo Thanks for trying Best Wishes Ron -Original Message- From: David Cassetti [[3]SMTP:[EMAIL PROTECTED] Sent: 04 April 2004 05:46 To: Lute net Subject:Re: Mystery piece I don't have Fronimo, but I have posted the tab: [4]http://www.users.qwest.net/~leocassetti/mystorg.tab -- David Ron Fletcher wrote: Hi David, Excellent! If you happen to have a version of it in a Fronimo file, I would be happy for you to send it to me. Best Wishes Ron Fletcher Loughborough East Mids.UK -Original Message- From: David Cassetti [[5]SMTP:[EMAIL PROTECTED] Sent: 03 April 2004 03:36 To: Lute net Subject:Mystery piece Hi, All, In '83 I recorded excerpts from a library LP with miscellaneous composers (organ), at a time when I was unfamiliar with pre-Bach composers, and I didn't write down anything about the album. It had Frescobaldi, Pachelbel, Buxtehude, and others. I've been wondering who was the composer of the first piece on the album for all these years. It's in 3 parts and I think it's in the Phrygian mode. Not only do I think it's cool, the lower two parts fit very nicely on a 7 course lute and seem very idiomatic. - the lowest note is F. I transcribed it by ear to a midi file and have posted it: [6]http://www.users.qwest.net/~leocassetti/MYSTORG.MID I figure the collective knowledge of the lute-net might help me solve the mystery, and some of you might find this interesting as a possible arrangement with lute accompaniment. I've been playing along in a "music minus 1" mode. Thanks, David References 1. mailto:[EMAIL PROTECTED] 2. http://www.babinszki.com/distiller 3. mailto:SMTP:[EMAIL PROTECTED] 4. http://www.users.qwest.net/~leocassetti/mystorg.tab 5. mailto:SMTP:[EMAIL PROTECTED] 6. http://www.users.qwest.net/~leocassetti/MYSTORG.MID
Re: Mystery piece
I don't have Fronimo, but I have posted the tab: http://www.users.qwest.net/~leocassetti/mystorg.tab -- David Ron Fletcher wrote: >Hi David, > >Excellent! If you happen to have a version of it in a Fronimo file, I would be happy >for you to send it to me. > >Best Wishes > >Ron Fletcher >Loughborough >East Mids.UK > >-Original Message- >From: David Cassetti [SMTP:[EMAIL PROTECTED] >Sent: 03 April 2004 03:36 >To:Lute net >Subject: Mystery piece > >Hi, All, > >In '83 I recorded excerpts from a library LP with miscellaneous >composers (organ), at a time when I was unfamiliar with pre-Bach >composers, and I didn't write down anything about the album. It had >Frescobaldi, Pachelbel, Buxtehude, and others. > >I've been wondering who was the composer of the first piece on the album >for all these years. It's in 3 parts and I think it's in the Phrygian mode. > >Not only do I think it's cool, the lower two parts fit very nicely on a >7 course lute and seem very idiomatic. - the lowest note is F. > >I transcribed it by ear to a midi file and have posted it: > > http://www.users.qwest.net/~leocassetti/MYSTORG.MID > >I figure the collective knowledge of the lute-net might help me solve >the mystery, and some of you might find this interesting as a possible >arrangement with lute accompaniment. I've been playing along in a "music >minus 1" mode. > >Thanks, >David > > > > > >
Mystery piece
Hi, All, In '83 I recorded excerpts from a library LP with miscellaneous composers (organ), at a time when I was unfamiliar with pre-Bach composers, and I didn't write down anything about the album. It had Frescobaldi, Pachelbel, Buxtehude, and others. I've been wondering who was the composer of the first piece on the album for all these years. It's in 3 parts and I think it's in the Phrygian mode. Not only do I think it's cool, the lower two parts fit very nicely on a 7 course lute and seem very idiomatic. - the lowest note is F. I transcribed it by ear to a midi file and have posted it: http://www.users.qwest.net/~leocassetti/MYSTORG.MID I figure the collective knowledge of the lute-net might help me solve the mystery, and some of you might find this interesting as a possible arrangement with lute accompaniment. I've been playing along in a "music minus 1" mode. Thanks, David
Re: Non-lute composers poll.
Bach Buxtehude Pachelbel Chopin Debussy Rachmaninov
short-cut embellishment
All, In Luis de Milan's fantasias #34 (twice) and #36 (once) there is a quirky embellishment at a cadence consisting of the note sequence g-f#-e#-f#-g (relative to g tuning). When I first encountered it I thought it was an error, but it appears to be deliberate. I heard a similar thing at the beginning of Jacob Heringman's Josquin lute settings (magnatune.com) which leads me to believe it's not confined to Milan. It seems like a way of avoiding moving to the next string in order to play the expected g-f#-e-f#-g. I'm starting to get used to the sound (now when I play it with e I can't help but hear e#), but my wife says it sounds horrible. Any insights? Thanks, David
Re: Seeking advice for 4th course
Thanks for all the responses - very helpful. I ended up trying carbon fiber (Savarez Alliance) for the 4th course (0.69mm, 2.4 kg tension), and am happy that the intonation issue is resolved, and the tone is better. It took about 5 days for the string to remain in tune overnight. -- David
Seeking advice for 4th course
Hi, all I have an 8-course ren. lute, 570 cm string length 1st course g' (using a'=415 as a reference), and tend to play mostly 6-course early ren. music. I'm using nylon for the upper courses which results in a tension of 3 kg for the chanterelle and 2.1 kg per string for the 2nd and 3rd courses (low tension). I'm happy with the 1st three courses, and am looking for advice on what to do about the 4th course (tension, material, etc). The original 4th course strings were 0.48 mm silver-plated copper over nylon, and they both broke within a few days. I also disliked having wound 4th courses. I've tried nylon unisons of various sizes but none seem satisfactory - they all seem to sound very dull and blend poorly with both the 3rd and 5th courses. And the strings have intonation problems where the fretted string is too sharp (gets worse as diameter is increased). I think a thinner string is required with adequate tension, but don't have any experience with gut, nylgut, carbon, etc. The 5th course is using silver-plated copper wound (~3.2 kg) over nylon with a nylon octave (2.4 kg) and it's pretty bright, so I suspect I'll need to lower the tension for better blending. If possible I would like the string to have reasonable stability and longevity. Thanks, David
Re: Science of string stretching.
Herb, I was noticing the other day that when a peg slips and the nylon string loosens all the way, when I tune it back up, it doesn't take nearly as long to stabilize (minutes or hours) as it did when I first put the string on (more like a week). So I'm not convinced the string slackens instantly. -- David Herbert Ward wrote: >On Wed, 28 Jan 2004, Jon Murphy wrote: > > >>Could we call that molecular memory? >> >> > >No problem with the terminology, except that it is, of course, inadequate >to explain the asymmetry >The string un-stretches INSTANTLY, with NO FORCE ACTING. >The string re-stretches SLOWLY, with STRING TENSION ACTING. >which seems quite remarkable to me. > >Usually, it's the other way around: > John goes over the cliff SLOWLY, with NO FORCE ACTING. > John goes over the cliff INSTANTLY, when he is BEING PULLED BY A ROPE. >Sorry for the morbid and silly example. > > > > > > >
Re: unidentified string
If the string appears white then it may be a Savarez classical guitar g or b string of the high-tension variety. -- David. Ed Durbrow wrote: >I have a string that is plain nylon wound with very thin plain nylon. >There is red thread on both ends where the nylon wrap starts and >stops. Any idea what kind of string it is and who produces it? Does >this sound like a known lute string? Could it be a classical guitar >string that is familiar to anyone? > > > > > >
Re: (Was: Vihuela) follow up question
Jon, Another way to think of Italian tab is looking through the neck with x-ray vision from the thumb side while you're in playing position. -- David Jon Murphy wrote: >Referring to Arto's message, quoted below. Reading my newly arrived Damiani >"Method" is my first exposure to Italian tabulature, it seems it is not only >numeric (in contrast to the French letters) but also "up side down" (the >... > >
Re: Vihuela
Sorry if this repeats the obvious, but I wasn't surprised to see Luys instead of Luis, having seen similar variants in the El Maestro introduction: traydo (traido) haueys (habeis) vereys (vereis) -- David
Re: formula
Sorry to answer a question with a question, but in the effort to get a more accurate density number: Wouldn't the density per unit length also depend on the amount of stretching, or is that already accounted for by the square root of tension? And how much might the density vary among manufacturers or even between different lots of the same manufacturer? -- David LGS-Europe wrote: >Thanks to all the rocket scientist on this list I now understand why the >formula for string tension is what it is. I have made a small spread sheet >for my lutes and am happily punching in numbers to see the result. Thank >you, all who helped. > >By the way, on Arto's SuperStringCalculator the density of nylon is given as >1000kg/m3. I have a science book here that says 1140 kg/m3. Is nylon for >strings something different? >I saw Matthias mentioning the density of nylgut as about 1300 kg/m3. Anybody >has a more exact figure? > >David > > > >* >David van Ooijen >Email: [EMAIL PROTECTED] >Http://home.planet.nl/~d.v.ooijen/ >* >Read about my latest Japanese CD and hear a sample at >http://home.planet.nl/~d.v.ooijen/david/ensembles/chiyomi.html > > > > > >
