[LUTE] theorbo gone

[Elliott Chapin]

bittersweet, thanks and regrets

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[LUTE] Michael Schreiner theorbo

[Elliott Chapin]

   I need to keep things simple: no refund, no shipping worries, etc. You
   really have to see it for yourself before putting down your money.

    Forwarded Message 
   Subject: Fwd: [LUTE] Michael Schreiner theorbo
  Date: Fri, 27 Sep 2019 14:18:20 -0400
  From: Elliott Chapin [1]
To: Lute List [2]

   Holding on pictures because have a couple of replies and there may be
   more. It's after the Veneri 14-course 75/135, double-strung mains large
   shallowish body with 1 rose. There was an early structural problem
   fixed by Michael, and a later on another one I fixed myself; the
   instrument has been sound for years; there is a cosmetic blemish. If I
   kept it I would restring and refret. Oh yes, it's now single-strung
   (M/S), with an added diapason at the top of the range. My intent was
   more toward solo intabulations. Originally it cost me $2000; I would
   take $500; best there or over in reasonable time gets to visit me in
   Toronto and look it over.

    Forwarded Message n
   Subject: ever
  Date:
  From: Elliott Chapin [3]
To: Lute List [4]
   I have been reducing the scope of my musical activities. I commissioned
   Michael's first theorbo, and it is now available - playable but could
   use some work. Details available; I live in Toronto.
--
elliottchapin.com/me



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References

   1. mailto:echa...@teksavvy.com
   2. mailto:lute@cs.dartmouth.edu
   3. mailto:echa...@teksavvy.com
   4. mailto:lute@cs.dartmouth.edu
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Michael Schreiner theorbo

[Elliott Chapin]

   Holding on pictures because have a couple of replies and there may be
   more. It's after the Veneri 14-course 75/135, double-strung mains large
   shallowish body with 1 rose. There was an early structural problem
   fixed by Michael, and a later on another one I fixed myself; the
   instrument has been sound for years; there is a cosmetic blemish. If I
   kept it I would restring and refret. Oh yes, it's now single-strung
   (M/S), with an added diapason at the top of the range. My intent was
   more toward solo intabulations. Originally it cost me $2000; I would
   take $500; best there or over in reasonable time gets to visit me in
   Toronto and look it over.

    Forwarded Message n
   Subject: ever
  Date:
  From: Elliott Chapin [1]
To: Lute List [2]
   I have been reducing the scope of my musical activities. I commissioned
   Michael's first theorbo, and it is now available - playable but could
   use some work. Details available; I live in Toronto.
--
elliottchapin.com/me



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References

   1. mailto:echa...@teksavvy.com
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Michael Schreiner theorbo

[Elliott Chapin]

I have been reducing the scope of my musical activities. I commissioned 
Michael's first theorbo, and it is now available - playable but could 
use some work. Details available; I live in Toronto.


--
elliottchapin.com/me;



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[LUTE] Re: Left hand technique

[Elliott Chapin]

redirected by firm elbow and relaxed shoulder


On 04/25/2018 10:05 PM, Leonard Williams wrote:
>I have frequently read in various lute tutors an admonishment not
>to grip the neck between thumb and fingers, but to allow the weight of
>the arm to press the strings.  I can never quite get this: the table of
>the lute is near perpendicular to the floor; how does the weight of the
>arm press the strings?  It rather pulls at the strings while sliding
>off.  Is there another way to explain this technical point?
>
>Thanks and regards,
>
>Leonard Williams
>
>--
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

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[LUTE] Re: Barring tips

[Elliott Chapin]

Try to avoid gripping, use arm weight.


On 04/20/2018 04:47 PM, Christopher Wilke wrote:
>My advice for barring would be to drink a lot of water beforehand, when
>you're there and when you get home.
>
>It also helps to curve your finger - the arch shape is much stronger
>than a straight finger, meaning that you don't have to use as much
>muscular Force to press down. Also, place the finger down more on the
>side than flat. If you can, try to mash the strings with the boney side
>of a knuckle instead of the fleshy part of yer fanger.
>
>Chris
>
>[1]Sent from Yahoo Mail for iPhone
>
>On Friday, April 20, 2018, 4:23 PM, Leonard Williams
> wrote:
>
>  I'm looking for tips on barring--it's always been a weak point
>for
>
>  me, particularly when a moving passage over a bar hits a barred note.
>
>  This is espaecially so when the note is on a middle course. Would
>
>  heavier frets - short of buzzing the strings -help? (currently using
>
>  1.1mm 1st, graded downward in 0.05 increments).  I'm guessing an
>arched
>
>  fingerboard woulds be ideal, but I can't afford that right now.
>
>  Thanks and regards,
>
>  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. https://overview.mail.yahoo.com/?.src=iOS
>2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

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[LUTE] Re: Pat O'Brien

[Elliott Chapin]

I remember him and Paul on stage at LSA exchanging lessons - right hand
for left hand.

On 07/18/2014 04:50 PM, Leonard Williams wrote:
   It's been a long time since I've seen Pat, but he was the first lute 
 player I had the opportunity to speak to back in the mid-seventies (here
 in Lancaster, PA, there was only one lute: mine).  After a lengthy
 conversation with him by phone, I apologized for having taken so much of
 his time;  he replied that the only thing he enjoyed more than talking
 about the lute was playing it!  I recall that he was somewhat of a
 physical therapist for plucked string players, inventing musical finger
 exercises to help overcome all sorts of problems.  Good insight into the
 mechanics of playing.

 Leonard Williams

 On 7/17/14, 1:28 PM, Charles Mokotoff mokot...@gmail.com wrote:

   I am seeing on Wkipedia:
   [1]http://en.wikipedia.org/wiki/Patrick_O'Brien_(musician)
   That Pat passed away yesterday. Does anyone know more about this. He
   was my first lute teacher, extraordinary guy.
   :( A A

   --

 References

   1. http://en.wikipedia.org/wiki/Patrick_O'Brien_(musician)


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[LUTE] Re: microtonal guitar

[Elliott Chapin]

On 04/25/2013 07:18 AM, Edward Chrysogonus Yong wrote:
 Has anyone else seen this? 
 
 http://www.youtube.com/watch?v=MYK_PF9WTRE
 
 The maker calls it a microtonal guitar, and the frets are individually 
 movable under the strings. hmm. could be awfully useful…
 
 Edward Chrysogonus Yong
 edward.y...@gmail.com
 
 
 
 
 
 
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

Ages ago I had Michael Schreiner turn an ordinary Yamaha to 31-tone. He
had a lot of fun with the high frets.

-- 
Elliott Chapin: clients.teksavvy.com/~echapin

[LUTE] Re: cold finger tips

[Elliott Chapin]

Hey Stephen, this was actually meant for the list :) :

This is a long shot but:
Find a practitioner of Wustyle TaiChiChuan and get them to teach you the
loose-hands warmup.


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[LUTE] another minor tab anomaly

[Elliott Chapin]

Wayne,

Remember that dots for repeats formerly didn't extend for a 7th course 
line? I just noticed that the analogous problem is true for ending 
markers (i.e., first ending ...). Please let us know of updates.


That's not the only oddity in my own plan, folks; good that tab is so 
flexible.


Thx,
E.
--
Elliott Chapin
http://clients.teksavvy.com/~echapin



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[LUTE] Re: Striggio 40 part mass from 1599

[Elliott Chapin]

On 03/26/2011 08:34 PM, Edward Mast wrote:

Whoops, meant to say 1566, not 1599.  And well, perhaps I Fagiolini was trying 
to outdo Mahler's 8th ('Symphony of a Thousand').   Given the opportunity, I'd 
like to hear it (Striggio) live with voices only.
On Mar 26, 2011, at 5:54 PM, Monica Hall wrote:


Well - their translation is a bit wide of the mark.  Spem in alium nunquam
habui praeter in te, Deus Israel means  My hope is in none other than
thee, O God of Israel not  Hope in any other.

The mass has been performed before but not recorded I think.   The main
attrction is that it is in 40 parts.   I rather doubt whether there were
lots of lutes taking part in the 16th century.  Wishful thinking.   No cloud 
machines either.   Where do they get these ideas from?

Monica


- Original Message - From: Edward Mastnedma...@aol.com
To: Lute Listlute@cs.dartmouth.edu
Sent: Saturday, March 26, 2011 9:16 PM
Subject: [LUTE] Striggio 40 part mass from 1599



Perhaps it's been discussed here - the Striggio 40 part mass -  though I
haven't seen it.  For a look at how it was recently uncovered and
recorded, see:  http://tinyurl.com/4d9rthp

There are also some youTube videos of it being performed/recorded showing
many lutenists among the band.




There's also Ockeghem's 36-part canon Deo Gratias.

--
Elliott Chapin
http://clients.teksavvy.com/~echapin



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[LUTE] tab success

[Elliott Chapin]

My 15-course theorbo is fine with Wayne Cripps' software if I specify 
baroque mode.

--
Elliott Chapin
http://clients.teksavvy.com/~echapin



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[LUTE] tab followup

[Elliott Chapin]

I see that what I was doing to get bourdons in my theorbo tab is not 
actually German - just general bourdon possibilities shown in the German 
example in the manual.

--
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[LUTE] Re: Aging wood outdoors.

[Elliott Chapin]

I've heard of wood for instruments being deliberately soaked/immersed - 
until it actually gets a bit moldy.

Herbert Ward wrote:
 This is not extremely lute-related, but maybe there are enough
 people here interested in wood ...

 I once saw a photograph of an outdoor yard in NYC where
 Steinway had wood aging.

 I always thought that exposure to the elements was
 for wood a detriment, being, say, one reason why people
 paint their houses.



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[LUTE] Re: Dowland's Poor Cripple Puzzle

[Elliott Chapin]

Stewart,

I'll check out your sample sometime this week. My specialty is solo 
arrangements, often but not always anachronistic. I suppose the 
extremes are Ach Els'lein, and Sh'beg Sh'mor (one of the few Irish 
tunes I know). Which Dowland I've already transcribed I can let you 
know later. My theorbo is set up with an extra bass (upper end) and 
12 frets (talk about anachronism :-)).

At 07:20 PM 11/11/2006, you wrote:

Dear Elliott,

Very ingenious, and totally anachronistic. :-) The simple answer is
yes. There are many possibilities, but presumably you had something
like this in mind:

  |\  |\|\   |\  |\   |\  |\   |\
  |   |\||\  ||\  ||
  |   | ||   ||   ||.
d___c__ca__a__a_
___|__|||___
___|__|_b__|_a__|_b_
___|__||_b__|___
_c_|_c_c__|___c|_c__|___
___|__|||_a_


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[LUTE] Re: Dowland's Poor Cripple Puzzle

[Elliott Chapin]

I wonder if it would work on theorbo. I've looked at other Dowland for that :-)

At 11:44 AM 11/11/2006, Stewart McCoy wrote:

Dear David,

You don't seem to have had a reply about Dowland's Poor Cripple. I
believe the lute part at the beginning is wrong. You are right about
the imitation, and I think it is important to preserve this. I
shouldn't worry about the loss of a seventh, because there is plenty
of dissonance elsewhere. It is a pity the lute cannot reproduce the
clash of the tenor's c' (d3) against the altus' b (c3), because both
notes have to be played on the same course.


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[LUTE] Michael Schreiner

[Elliott Chapin]

Current contact info, please.


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[LUTE]

[Elliott Chapin]

Most of my frets are slanted. I actually have 12. Even the top one 
covers 6 courses. It is set to have the 1 - 6 octave in tune. The 
whole instrument plays reasonably well in tune. It is single strung throughout.

At 02:57 AM 9/1/2006, you wrote:

Most of my frets are slanted. I actually have 12. Even the top one 
covers 6 courses. It is set to have the 1 - 6 octave in tune. The 
whole instrument plays reasonably well in tune. It is single strung throughout.

At 02:57 AM 9/1/2006, you wrote:

On Friday 01 September 2006 03:31, you wrote:

dear all,
Just a question what came to mind reading the mails on frets.
My theorbo with gutstrings needs to have the frets with an angle to the
strings to get a correct tone. I.e. the fret needs to be shifted in the
direction of the pegbox on the side where you look, while at the side of the
handpalm they stay at the original location, starting with fret no 3. It's
not very much, but the only one I know who has the same experience is David.
Do others have the same experience on their instruments?
Taco



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[LUTE] Re: What is the historical vihuela?

[Elliott Chapin]

Not to speak of brighter sound. I'd say mine is a bit short for 
continuo but OK for solo.

At 07:49 AM 11/12/2005, you wrote:
Am Freitag, 11. November 2005 11:58 schrieben Sie:

  This is what puzzles me a bit as I can't see the advantage of having a long
  string length for accompanying.  Maybe I am mistaken, but I would have
  thought the purpose of a long string length would be to tune to a lower
  pitch.  Such an instrument would play the lowest part in consort as in the
  Valderrabano as you say.

one of the advantages of a longer string length is the volume I suppose ...

regards
Thomas


--
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Niederhofheimer Weg 3
D-65843 Sulzbach
06196/74519
[EMAIL PROTECTED]

ab 15.7. neue Adresse:
Wiesentalstrasse 41
CH-8355 Aadorf
++41 (0) 52 365 00 04

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[LUTE] Re: What is the historical vihuela?

[Elliott Chapin]

Pardon - I was thinking theorbo in my previous reply. I have never 
tried vihuela, but maybe what I said was valid anyway.

At 07:49 AM 11/12/2005, you wrote:
Am Freitag, 11. November 2005 11:58 schrieben Sie:

  This is what puzzles me a bit as I can't see the advantage of having a long
  string length for accompanying.  Maybe I am mistaken, but I would have
  thought the purpose of a long string length would be to tune to a lower
  pitch.  Such an instrument would play the lowest part in consort as in the
  Valderrabano as you say.

one of the advantages of a longer string length is the volume I suppose ...

regards
Thomas


--
Thomas Schall
Niederhofheimer Weg 3
D-65843 Sulzbach
06196/74519
[EMAIL PROTECTED]

ab 15.7. neue Adresse:
Wiesentalstrasse 41
CH-8355 Aadorf
++41 (0) 52 365 00 04

http://www.lautenist.de
http://www.lautenist.de/bduo/
http://www.lautenist.de/gitarre/
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[LUTE] Re: Tempo and divisions

[Elliott Chapin]

As to sarabands: Are there other factors in deciding whether a given 
piece is meant to be fast or slow?

I know of one saraband which I was taught as fast, but which I only 
had known as slow (simple historical error?) if at all: the saraband 
in Matthew Locke's Five-part Thinges for the Cornetts (better known 
as Musick for His Majesty's Sackbutts and Cornetts.

At 11:54 AM 8/13/2005, Howard Posner wrote:
Stewart McCoy wrote:

  It has often been observed that the addition of extra notes by
  musicians, or extra steps by dancers, has the effect of slowing
  music down over the years. The saraband started life as a fast,
  lively dance, and ended up as a very slow one.

Wouldn't the reverse be just as likely: that slower tempo leads to more
notes?
There are other, more intuitive causes for dances to slow down over a
long period.
For example, the people who dance it get older.  Or the dance moves up
the social ladder,
to be danced by people in more elaborate clothing.

HP



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Re: Huwett

[Elliott Chapin]

Some time ago I voiced to Miles Dempster, and later to Paul O'Dette, a 
thought about this piece: A seemingly meandering bridge actually contains 
the main theme. This idea was apparently new at the time. More I can't tell 
at the moment because my copy went with one of the Michael Schreiner lutes 
that I no longer own. I still have the first Schreiner theorbo - waiting 
for me to get back to writing transcriptions.

At 09:18 PM 4/26/05, Bruno Correia wrote:
Dear all,

Recently I have been working on the Huwett fantasia by Robert Dowland's
A varietie of lute lessons. I'm trying to find recordings of this
piece but unfortunately I just found two, one from Lutz Kirchof and
another by Nigel North. In both recordings the piece is played as if the
lute was tuned in e. Why is that? Why they didn't play it on a lute in
g? Was the piece conceived for such a tuning?





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Re: Archlute damage

[Elliott Chapin]

I commissioned Michael Schreiner's first theorbo. If I remember correctly, 
the extension warped and the second pegbox came loose. One of the elements 
of the rebuild was fairly thin steel rod inside the joint. The instrument 
hasn't needed work on that area since.
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