[LUTE] Variable speed metronome.
Here is a set of nine WAV files implementing a metronome that changes tempo automatically as it runs. The tempo changes are intended to mimic the variations (intentional or haphazard) of an ensemble. The file names have an MM setting and a letter a, b, or c. The letter indicates the size and suddenness of the tempo changes. For example, mm93_c.wav has average tempo MM93 and large sudden tempo changes. AFAIK, these are valid WAV files. For me, the Chrome browser on Window 8.1 works, as does the built-in player on the Windows Surface tablet. If you have long-term interest, please download the files, as I will remove them March 10. URL = https://classwk.pw/varSpeedMetro/ Comments and requests may be sent to war...@gmail.com or to this forum. -- Herbert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Hyperfast metronome.
A hyperfast metronome (MM 200 to 600) is available as WAV files at https://classwk.pw/fast_met_Da_2016_12. These are valid WAV files, but they are unorthodox in certain ways, and not all WAV players will handle them. For me, the Chrome browser on Windows will play them. Also the Microsoft Surface tablet computer. Every third beat is randomly accently. Various games can be based on this feature. I will leave these files up only two weeks, so if you have long-term interest, you should download them before Jan 10 2017. I release them into the public domain. There are no restrictions on their use. If you are particularly classy, you can claim credit for them, as others have done with my work. -- Herbert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Another set of combinations.
Here are all possible combinations of three notes on one string without going above the fourth fret: aaa ard bab bre rar rda dad ddb eae edr aab are bar bda rad rdb dae ddr eba edd aar ada bad bdb rae rdr dba ddd ebb ede aad adb bae bdr rba rdd dbb dde ebr eea aae adr bba bdd rbb rde dbr dea ebd eeb aba add bbb bde rbr rea dbd deb ebe eer abb ade bbr bea rbd reb dbe der era eed abr aea bbd beb rbe rer dra ded erb eee abd aeb bbe ber rra red drb dee err abe aer bra bed rrb ree drr eaa erd ara aed brb bee rrr daa drd eab ere arb aee brr raa rrd dab dre ear eda arr baa brd rab rre dar dda ead edb To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] All possible combinations, 4 notes, 3 strings.
There are 81 possible sequences of four notes played on the first three open strings. Below is a PDF of these 81 sequences, arranged in a random order. You can use it as a basis for devising exercises which include the thumb. For example, (assuming Baroque lute) alternating the thumb between the fourth course and the tenth course. Let me know if you'd like modifications. Possibilities include putting the letters above the ledger lines instead of on them, and shifting the margins to accomodate three-ring punch holes. The URL is https://classwk.pw/auxDocs/lute_all_combos_4_notes_3_strings.pdf -- HW To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Pad on back of pegbox.
My left thumbnails hits the back of the pegbox some times, and makes an annoying click. I'd like to attach a pad to the pegbox as a mute. For adhesion, ss there a better choice than good quality office tape (aka magic disappearing tape)? For me it usually comes off without leaving a residue. Sorry if this has been asked before. I did do some searching in the archives To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Practice for sight reading.
Greetings -- There was a bug in my program. The manifestations were 1. There were no measures ending with a double-flag note. 2. There were about 20 duplicated measures (eg, the last two measures on page 1). I fixed the bug -- here is the fixed PDF: https://classwk.pw/auxDocs/rhythm_practice_Da_2016_10.pdf Sorry to anyone who printed the version with errors. -- Herbert On Sun, 3 Jul 2016, Herbert Ward wrote: > As an aid in learning to sight read, below is a URL for > all possible non-trivial rhythms in a measure, using a > maximum of two flags. > There should be no duplications (ie, each measure should > be unique). > Suggestions or error reports are welcome. > The URL is > https://classwk.pw/auxDocs/rhythm_practice_Da_2016_09.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Practice for sight reading.
As an aid in learning to sight read, below is a URL for all possible non-trivial rhythms in a measure, using a maximum of two flags. There should be no duplications (ie, each measure should be unique). Suggestions or error reports are welcome. The URL is https://classwk.pw/auxDocs/rhythm_practice_Da_2016_09.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Light plastic music stand.
I've seen collapsible music stands made of plastic or aluminaum that weigh about half as much as stands made of steel. I looked in Amazon and Google, but no luck. Can anyone help? I'd be especially interested in experiences with durability. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Imprecise diameters on Savarez Alliance KF envelopes.
I measured seven Savarez Alliance KF strings, and compared my measurements with the sizes printed on the envelopes. These were brand-new unused strings. There was quite a bit of inconsistency. My measurements ranged from 4% above the envelope value to 4% below. But it seems strange that people who achieve the precision needed to make a lute string would be so imprecise in labeling their envelopes. I'm guessing that they round the number off to the closest whole number. For example, a KF 52 might actually be KF 52.2. Then they propagate that inaccuracy to the inches number. At any rate, this complicates the process of ordering replacements for broken strings. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] U.S.A source for Savarez lute strings.
How about a USA website that sells Savarez lute strings? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Stringing for baroque lute.
As an experiment, I put extremely light strings on my baroque lute. This made the tone very difficult to control. This is pretty good practice, but in a month or two I need to venture out of the house with the lute. So it's string buying time. Can someone give me a Savarez PUL number for the fundamental of the 9th course (E) at A=415 with a 68.5 cm string length? Also helpful would be an indication of whether the PUL corresponds to heavy, medium, or light stringing. Google searches gave nothing useful. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Mi bemol majeur, tuning of bass strings.
I am starting a Baroque lute suite by one Johann Christian Jacobi. The title page has "Mi bemol majeur". Does this definitely indicate that I should tune my bass strings to an E-flat major scale: Ab, Bb, C, D, Eb, F, and G? The PDF is at https://dl.dropboxusercontent.com/u/60516846/Partitions_pour_luth_baroque/Musiques/Les_manuscrits/Harrach_Rohrau/V12_Luth_solo/Tablature/H12_2_Jacobi_Suite.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Per illud ave does not match.
Besides different rhythmic organization and key, there are also some inserted notes. For example, the first interval in the tablature is a major second, and that in the vocal score is a minor third. I would never have found the score without help. Thanks. On Thu, 24 Mar 2016, AJN wrote: > > Here is the page in Valdrrabano: > > http://bdh-rd.bne.es/viewer.vm?pid=d-3510057 > > And the score (in G tuning a fifth higher than the tablature): > > http://www1.cpdl.org/wiki/images/3/39/Des_Prez-Per_illud_ave.pdf > > > Â > Â > On 03/24/16, Ron Andrico<praelu...@hotmail.com> wrote:Â > I think it is in fact the same music, just in a different "key" and with > different rhythmic organization, particularly at the opening. What you are > seeing in the tablature is a version adapted for plucked strings with > idiomatic changes in rhythm, a very common characteristic of intabulated > vocal music. It's actually very interesting to see the way intabulators > modified the music, for instance in Fuenllana's many duos for which we can > find vocal scores. I think Fuenllana's adaptation of the Benedictus duo from > Josquin's Missa Pange lingua is much better music than Josquin's > original. > > Herbert, I imagine your questions arise in attempting to sort out the several > points of dissonance in Valderrabano's tablature. The best thing you > can do to gain an understanding of the piece is transcribe the tablature into > notation on two staves. > > RA > > ________ > From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of > Herbert Ward <wa...@physics.utexas.edu> > Sent: Thursday, March 24, 2016 8:29 PM > To: lute@cs.dartmouth.edu > Subject: [LUTE] Per illud ave does not match. > > I appreciate the recent help with "Per illud ave". > > But the piece suggested by the people here in this > forum does not match the piece in Damiani's book. > > Here is an illustration showing everything: > https://classwk.pw/Jos_Da_2016_11.gif > > What would be the next step in searching for > the vocal score? > > -- Herbert > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > --
[LUTE] Per illud ave does not match.
I appreciate the recent help with "Per illud ave". But the piece suggested by the people here in this forum does not match the piece in Damiani's book. Here is an illustration showing everything: https://classwk.pw/Jos_Da_2016_11.gif What would be the next step in searching for the vocal score? -- Herbert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vocal score, Josquin, Per illud ave.
Page 107 of Damiani's Renaissance lute method book has a setting by Valderrabano of a piece by Josquin. In Damiani's book, the piece is labeled "Tercero grado, Per illud ave". It appears to be in two voices. I need the score of the the original piece by Josquin to resolve voicing ambiguities, as are often found in lute tablature. Internet searches like "Josquin per illud ave" produced little, except for a hint there might be two such pieces. Can someone offer guidance or help? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lutes lasting under various conditions.
Suppose three identical lutes stored under different conditions: an unheated barn, out of the rain and sun, but exposed to humidity and temperature changes (no case) a typical modern home (no case) a museum display case built to the state-of-the-art in wooden instrument preservation How long would they last? In other words, do lutes eventually lose structural integrity, even without gross mechanical damage? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Violin and lute.
I have a chance to play music with a modern violinist. He's probably quite adept since he played with the symphony of a large city. What music would be appropriate for "introducing" him to the Renaissance repertoire? I don't remembering seeing any historical duets for lute and bowed instrument. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Strap
The force from the strap (to some extent) counters the force from the strings. The strings pull the pegbox in one direction, and the strap pulls it in more-or-less the opposite direction, so there is a cancellation effect. A strap at the pegbox would be much worse if it pulled in the same direction as the strings. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Resonance vs power.
Here is a web page on the interior bracing of theorbos: http://schreinerlutesandguitars.blogspot.com/2011/11/harmonic-barring-for-kaiser-theorbo.html Near the end is a paragraph that begins This photo shows the ends of bars The paragraph describes how to balance resonance and power. Could someone explain the difference between resonance and power? I would have thought the two terms more-or-less synonymous. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Knot in the soundboard.
How difficult would it be to make a good lute with a knot in the wood of the soundboard? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] What is a classic lute quartet?
I saw a description of the classic lute quartet as four lutes in d'', a', g, and d. I googled, and I searched the archives of this forum, and I also tried Wikipedia. Very little was forthcoming. So I have a number of questions. Is there such a thing as the classic lute quartet? Is there a body of literature for it? Where and when was its heydey? Who composed music for it? What factors caused its rise and fall? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: band-aid texture question
If I'm careful to apply moisturizer specifically to the skin around my fingernails, I get almost no hangnails. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Is high-gloss quieter?
In looking at the Formby line of tung oil finishes, I see both low-gloss and high-gloss versions. For example http://amazon.com/gp/product/B000BZZ4ZU/ref=oh_aui_detailpage_o00_s00?ie=UTF8psc=1 Despite tung oil in the name, the label's fine print calls the product a varnish. What does this mean? Are these finishes suitable for lute soundboards? Would the high-gloss version make less noise when the right hand fingers slide around on the soundboard incident to playing? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Animated lute map.
The Wikipedia article on the Roman Empire http://en.wikipedia.org/wiki/History_of_the_Roman_Empire has an animated map of the Empire's extent (500 BC to 1650 AD). It shows expansion from 500 BC to about 300 AD, then a collapse through 1650 AD. It might be interesting to see such a map for the lute. A lute map would not have borders, as with geo-political entities. Instead, we might have something like one red dot for every 100 lute/vihuela players, one green dot for every 100 viol players, one black dot for every major composer, ... . I suppose compiling data for a lute map would be prohibitively laborious. Nevertheless, it is interesting to ask whether the data exists. Could one examine receipts, guild records (eg string makers), diaries, histories, notebooks, paintings and other documents and eventually compile data (by year and location) that a computer expert could convert into a reasonably accurate animated map? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Crochet hooks.
... How did your experiments go ... The C, F, and A course of my lute have small loops of color-coded string around the strings in the pegbox. I use these loops to release the tension at the nut. I slide the loop close to the nut and pull in a direction which bisects the angle formed by the string at the nut. After several weeks, my conclusions are a. The technique is effective at releasing the tension. The pitch immediately and reliably reflects even small movements of the peg. b. The loops unfortunately tangle with each other (one loop threading into another loop, etc). c. The loops are hard to see with the lute in playing position. d. It is one of the situations where you need three hands. Because of b, c, and d above, a certain amount of technique is required. Nevertheless, I often use the loops in my day-to-day tuning. If several strings need to be tuned, I put the lute on the floor so I can see the loops and deal with tangling. I also have a small reference chart taped to the wall showing the color coding. Appropriate multicolored yarn is available at Amazon: amazon.com/gp/product/B001B2T476/ref=oh_aui_detailpage_o05_s00?ie=UTF8psc=1 Thanks for the question. -- Herbert On Sat, 29 Nov 2014, Sean Smith wrote: I found a little hook tool for electronics at Harbor Freight Tools. A couple of bucks and it, too, is very helpful. How did your experiments go at getting the string to slide easily over the nut? Sean On Nov 29, 2014, at 8:19 AM, Herbert Ward wrote: The last time I changed strings, I had a crochet hook. I found it useful in manipulating the strings in the tight confines of the pegbox. If you would like to try it, I would suggest size 1.8 mm. And I would suggest avoiding the cheaper hooks, as the working end is sometimes ill-formed due to sloppy machining or casting. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Historical Protestant music.
Can the question of Catholic vs Protestant support for the historical performance and composing of early music be summarized briefly? By way of supplying framework, Martin Luther began around 1520 and the Thirty Year's war lasted until 1648. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Single versus triple roses
But I invite all you proper physicists out there to explain why! I have a PhD in experimental physics. The term resonant frequency is a bit complicated. A string has a resonant frequency (its pitch). But a string's resonant frequency is obviously different from a lute's resonant frequency. For when I tap my lute, it does not ring at a specific pitch like (F# or Bb or 413.7 Hz). A lute's resonant frequency is very broad (I guess several octaves). A string's resonant frequency is very narrow (I guess 0.5 Hz). As the math works out: lute haves a broad resonant frequency = short ring time string haves a narrow resonant frequency = long ring time The physical difference is how much damping there here. You can google damped harmonic oscillater for more info. Many factors apply to both lutes and strings: 1. lighter = higher pitch 2. stiffer = higher pitch 3. heavier = lower pitch 4. looser = lower pitch As to why a smaller rosette makes a lower pitch, I'm not sure. It might be simply because the is more mass in the soundboard (#3 above). Or it might have be related to how wooodwind sound holes work. Or maybe both. An experiment to resolve the question would, I'm afraid, involve the destruction/degradation of the soundboard on a good lute. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Help for installation of geared pegs.
I'm considering installation of geared pegs on my lute. The website (http://www.pegheds.com) says that any qualified repair person can do the installation. But that is probably for violins, cellos, etc. Would a violin repair person be able to do the installation? Are there fundamental differences between a violin pegbox and a lute pegbox? Would a cello repair person be better than a violin repair person? Of my 13 pegs, 10 wind internally to the pegbox, and 3 wind externally. My understanding is that the external pegs require special attention. So I will, at first, install only 10 geared pegs. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Single versus triple roses
As an exercise, I pose this question. A cymbal has no definite pitch, but it rings for a long time. So it does not follow the rules below. Why? On Sat, 29 Nov 2014, Herbert Ward wrote: But I invite all you proper physicists out there to explain why! I have a PhD in experimental physics. The term resonant frequency is a bit complicated. A string has a resonant frequency (its pitch). But a string's resonant frequency is obviously different from a lute's resonant frequency. For when I tap my lute, it does not ring at a specific pitch like (F# or Bb or 413.7 Hz). A lute's resonant frequency is very broad (I guess several octaves). A string's resonant frequency is very narrow (I guess 0.5 Hz). As the math works out: lute haves a broad resonant frequency = short ring time string haves a narrow resonant frequency = long ring time The physical difference is how much damping there here. You can google damped harmonic oscillater for more info. Many factors apply to both lutes and strings: 1. lighter = higher pitch 2. stiffer = higher pitch 3. heavier = lower pitch 4. looser = lower pitch As to why a smaller rosette makes a lower pitch, I'm not sure. It might be simply because the is more mass in the soundboard (#3 above). Or it might have be related to how wooodwind sound holes work. Or maybe both. An experiment to resolve the question would, I'm afraid, involve the destruction/degradation of the soundboard on a good lute. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Crochet hooks.
The last time I changed strings, I had a crochet hook. I found it useful in manipulating the strings in the tight confines of the pegbox. If you would like to try it, I would suggest size 1.8 mm. And I would suggest avoiding the cheaper hooks, as the working end is sometimes ill-formed due to sloppy machining or casting. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Technique for friction at the nut.
The bent-back pegbox means that a lute has 7.5 times as much friction at the nut as a guitar, taking angles of 10 degrees for the guitar and 80 for the lute. For the strings attached to the farthest pegs (say, the fourth course) this friction causes trouble because the strings stick at the nut during tuning. Graphite lubrication never helped me much. Nor did tugging at the string, though it seems this should work when tuning downward. To fix the problem, I tied a loop of ordinary household twine around the string in the peg- box, and MOVED IT AS CLOSE AS POSSIBLE TO THE NUT. Now I adjust the peg, and then give a momentary tug on the loop. The tug pulls the string almost completely away from the nut, and thus equalizes the tension along the entire length of the string. In response, the pitch immediately and reliably reflects the slightest movement of the peg (in either direction), as with a harp. A side-benefit is that the peg stays pushed in longer, since the peg is turned so little. Of course, if you put loops on multiple strings, then you have a mass of loops from which it is difficult to find the one you need. I've ordered a skein of multi-colored knitting yarn to see whether color-coding will reduce this problem. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ren lute as sub for theorbo
I saw a production of Monteverdi's Return of Ulysses last night. In the orchestra was a theorbo. At least I think it was a theorbo. It has a prominent place in the production, serving as the sole accompaniment for approximately six of the songs. Would it be feasible to replace the theorbo with a Renaissance lute in this opera? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tab for John Sturt's prelude.
That is on f.22r of the ML Lute Book. Here is a link to that manuscript on Sarge Gerbode's web site. http://gerbode.net/facsimiles/british_library/BL_MS_Add_38539_john_sturt_lute_book/ Thank you. In the middle of the third line, on the first course, there are two adjacent tablature letters of unfamiliar shape. The first resembles a 'p' with a long straight tail. And the second resembles a 'p' with a hooked tail. Can someone identify these two letters for me? Are they 'f' and 'h'? Are these shapes standard for that time and place? Or are they an idiosyncrasy of the writer? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Tab for John Sturt's prelude.
I'm looking for tablature (or regular staff notation) to John Sturt's prelude. I understand there is only one prelude extant from this composer. I can't find the tablature/staff online. I would appreciate suggestions or other help. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Initiating finger movement.
Caroline -- Are there not additional possibilities? 21, 31, 32, 41, 42, 43. In a sense yes. But I was not counting that way. I'm like Who cares if you have a dog and a cat or a cat and a dog. There's no difference.. You're like Use the turn signal, then turn the steering wheel. Order matters.. In math, you are 4!, and I am 4!/2!. 4! is read four factorial. I got the exercise from Scott Tennant's book Pumping Nylon. Lutenists interested in that book might note that there is a tab version. I accidentally got the regular version and had to learn how to read guitar music while adapting to the different tuning :(. I can recommend the book if you're interesting in LH exercises. -- H To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Initiating finger movement.
One of my exercises is this: place all four fingers of the LH on the 2nd course. Then, select one pair of fingers at a time, and move them in a pattern while keeping the other pair of fingers fixed.* In doing this exercise, I find that after movement is initiated, I seldom get con- fused about which fingers should be moving and which should be stationary. It is only during initiation of movement that I accidentally move a wrong finger. I also find that having recently moved a pair of fingers is quite conducive to initiating them again. I wonder whether anyone can describe a physiological basis for these two phenomena. * There are six possible pairs, 12, 23, 34, 13, 24, and 14. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Seven courses versus eight.
What is the extent and nature of the historical liturature which is playable on an 8-course Renassiance lute, but not on a 7-course? In other words, is a 7-course instrument a workable subsitute for an 8-course? This assumes the 7-course lutenist is willing to retune his 7th course between pieces. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Bare spot on soundboard.
I've worn a spot on the soundboard with my RH pinkie. The bare wood is starting to show through the finish. Should I do anything? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cold hands.
A few weeks ago I posted a question asking whether getting the hands cold and stiff repeatedly causes irreversible damage. No one answered. I've since had an opportunity to present the question to a university professor of physiology. He seemed quite competent in answering, and I have had trouble finding information with Google, so I thought I'd pass his answer on. The stiffness that we perceive in cold hands is mostly from two sources. The first is that the deep blood vessels expand to increase the supply of blood. The second is that the muscles are contracting in an effort to generate heat (this is somewhat like shivering). He said that the tissues are just fine after rewarming (assuming, of course, that the temperature stays well above frostbite level). To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cold hands, physiology.
Why are cold hands stiff? Maybe the ligaments actully stiffen? Or the tendons do not slide easily in their sheathes? Or maybe it's in the nerves? And, does cold cause irreversible damage? If one iced his hands every day for a year, would it cause long-term irreversible damage? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Meaning of Canto Bello in Capirola's time.
I'm working on Capirola's Canto Bello. Literally translated, I suppose (based on my Spanish) that this title means beautiful song. Do we have an idea of what Capirola intended by this title? Perhaps reference to a popular song of his time? Or perhaps reference to a precursor of the operatic bel canto style? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Bone or wood frets.
Why were frets historically made of gut rather than bone, wood, metal, or ivory? With gut frets, it is easy to adjust intonation. But if hide glue were used, bone/wood/metal frets could also be adjusted. In fact, such frets would offer more latitude in adjustment of intonation than gut frets, because they could be curved or segmented. I guess that bone/wood/metal frets would also offer more sustain and more resitance to wear. And they might even be cheaper. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] How to cut fret shims.
I have some basswood, about 1/2 inch by 1/2 inch by 10 inches ( 1cm x 1cm x 20cm). I would like to cut it into matchstick-sized pieces, for use in tightening loose frets (on the back of the neck). Looking in Amazon, I did not see a tool that seemed likely to work well. I guess I need some type of little saw. I could whittle with a utility knife, but that would be wasteful and time consuming. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Free VS-II.
I have a Peterson VS-II Virtual Strobe Tuner, complete with power supply (plugs into wall), instruction pamphlet, and quick-start pamphlet. I do not anticipate using it, and I will send it to a lutenist willing to reimburse me for the shipping cost. If interested, please send email to war...@gmail.com. You can see the manual at http://www.petersontuners.com/index.cfm?category=83# The tuner has a collection of temperaments (see page 17 and page 21 of the manual). Despite the name, I doubt the VS-II is a real strobe. For one thing, the bands in the display are locked together in a fixed relative phase of 0 degrees. If you want a good strobe, I would suggest: 1. a Peterson mechanical wheel tuner, or 2. the Sonic Research strobe tuners. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] How to try gut strings.
Can someone write up a list of things you need to know to try gut strings for the first time? I know gut strings need tuning more often. And I know you need spare chanterelles and maybe also spare octaves for the fourth course. What is the max nut-to-bridge distance for gut strings at A=415? I have a 7-course Renaissance lute. I guess all 13 strings should be gut? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Loaner for smashed lute
I heard a story about a well-known guitarist who opened his case to find the soundboard deliberately smashed. This was from one of his students. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Scales for ear training.
I contemplate writing an ear-training computer program. It would select random pitches from a scale and pair them with random note values to create a melody, which the trainee would listen to and try to reproduce (by voice or instrument). The trainee could ask the program to replay the melody as needed. I have no expectation that the melodies will usually musical. But, leaving that question aside, my question is this: For a typical lutenist involved in the Renaissance and Barqoue repertoire, what scales would be most useful? Some possibilities would be: major natural minor harmonic minor melodic minor dorian mixolydian Also, if you're interested in using such a program, let me know what type of computer you use (Windows, Macintosh, or Linux). If more than a few people respond, I'll make certain accomodations during the programming. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Superfluous movement in fourth LH finger.
The little finger of my left hand (aka L4) exhibits a variety of superfluous maneuvers when the other three fingers move. Jerking, sudden tension, extension, flexing, etc. Sometimes the motions are in the same direction as the other fingers, and sometimes in the opposite direction. The other fingers do this too, but L4 is especially prolific. I wonder whether physiology might shed light on the origin of this. Are the motions neurological in origin? For example, are there shared nerves or ganglions between L4 and the other three fingers? Are they mechanical in origin? Are L4's unnecessary motions due to stress from sharing tendons and/or muscles with the other three fingers? Are they psychological in origin? Perhaps a jerky L4 is body language for I'm confused and I feel insecure.? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Checking a lute vs carry-on.
This is regarding flying with a lute. Assuming that you have a good flight case, is it better to check your lute or take it as a carry-on item? When I look at the carry-on regulations, I see that the allowed size is much too small to accomodate a 63 cm lute. And when I put my lute into an overhead bin, I'm quite liable to the charge of bin hog, especially dreadful when the plane is full. I did a carry-on a few months ago. I had no problems. But I'm always dreading a tap on the shoulder and someone saying, excuse me, but your carry-on item is too large. So, is it worthwhile to get a flight case and check the lute into the baggage handling system? Or should I stick with carry-on? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Checking a lute vs carry-on.
... drop ... plane to the ground ... In this situation a strong case is counter-productive. Better might be a weaker case, like the crumple zones in a car: http://www.hk-phy.org/contextual/mechanics/mom/impul04_e.html in the overhead bin..  I have however heard nightmare stories with instruments in heavy steel flight cases, which ended up broken nevertheless. One friend literally saw the bagage handlers drop a viola da Gamba from the plane to the ground, and even though it was in a flight case, it ended up broken... the other solution is to buy another ticket for the lute...   good luck  Bruno 2013/10/17 Herbert Ward wa...@physics.utexas.edu This is regarding flying with a lute. Assuming that you have a good flight case, is it better to check your lute or take it as a carry-on item? When I look at the carry-on regulations, I see that the allowed size is much too small to accomodate a 63 cm lute.  And when I put my lute into an overhead bin, I'm quite liable to the charge of bin hog, especially dreadful when the plane is full. I did a carry-on a few months ago.  I had no problems.  But I'm always dreading a tap on the shoulder and someone saying, excuse me, but your carry-on item is too large. So, is it worthwhile to get a flight case and check the lute into the baggage handling system?  Or should I stick with carry-on? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --  Bruno Cognyl-Fournier  www.estavel.org  --
[LUTE] Optical tuner.
I bought a Planet-Waves optical tuner. It shines a strobe light on your string while you're tuning. It works great with my steel-string guitar. Positive #1: There is no problem with jumping needles. Positive #2: There is no problem with competing sympathetic vibration. Positive #3: The is no problem with background noise from the room. Positive #4: The feedback is instant. Positive #5: It's small (size of a guitar pick). Positive #6: The accuracy is so good that the main limitation is how smoothly the tuning mechanism works. Positive #7: There is no problem with the tuner selecting E when you're tuning an A string. Positive #8: If you're inventive and knowledgeable, you can check your overtones and detect false strings. Positive #9: It's cheap. Unfortunately, it has only the six guitar notes EADGBE, so it's limited in usefulness for a 440 lute, and even more so for a 415 lute. An industrial strobe light (eg, ESL-100) would probably work, but it would be bulky and costs around $650. Yes, I know you're suppose to learn to tune by ear. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cheap flight case.
Someone suggested to me that you might get a generic rectangular flight case big enough to contain your usual lute case and foam padding. This would have to be much cheaper than getting a flight case custom built. Inside two nested cases and 2-3 inches of foam, it seems a lute should be able to survive an airport baggage handling system. I spent about 20 minutes searching online for such an item, but found nothing. All the cases were too small, meant for electric guitar amps, DJ turntables, etc. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Interesting aspect of metronomes.
Turn on a metronome and clap your hands in time with the ticks. You will find that, when a clap coincides exactly with a tick, the tick is not audible. I don't have equipment to measure the error tolerance for this. I assume it's about one hundredth of a second. So, if your clap occurs within 0.01 seconds of the tick, you can't hear the tick. And, it turns out that the same thing happens when playing lute with a metro- nome, perhaps because of a percussive sound associated with plucking the string. This gives one an objective, easily verifiable, and challenging goal in developing precision in technique. I suggest that you begin with clapping before trying it with a lute. Sometimes I walk about the room and try to maintain precision in clapping. This looks a bit silly, but it is not easy, and it makes me appreciate the skill associated with rigorous dance training. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Changing tempo.
I'm working on Solus cum Sola (Dowland). I find myself slowing down during the harder parts, and then resuming tempo when the technical challenges relent. The variations in tempo don't bother me as I listen to myself. But I wonder whether they would be considered bad form by knowledgeable listeners. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Traveling on Amtrak with a lute.
Anyone with experience on Amtrak with a lute? The main question, of course, is whether you can keep the lute away from the baggage handling system, and otherwise safe. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Flying with a lute.
The Southwest Airlines web site http://www.southwest.com/html/customer-service/baggage/carryon-bags-pol.html gives a maximum size for carry-on items of 10 x 16 x 24 inches, which is smaller than my lute case. I wonder whether they enforce this strictly. From talking with other people, I have this set of rules: 1. Use Southwest Airlines if possible. 2. Fly early in the day to maximize your chance of getting an overhead bin in the cabin. 3. Have a lute case that fits in the overhead bins. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Origins of bowing.
For what it's worth, Jane Austen recorded bowing silently as a repsonse to a question (Chapter 6, Pride and Prejudice, published 1813). The conversation takes place between two gentlemen: You saw me dance at Meryton, I believe, sir. Yes, indeed, and received no inconsiderable pleasure from the sight. Do you often dance at St. James's? Never, sir. Do you not think it would be a proper compliment to the place? It is a compliment which I never pay to any place if I can avoid it. You have a house in town, I conclude? Mr. Darcy bowed. I had once had some thought of fixing in town myself.for I am fond of superior society; but I did not feel quite certain that the air of London would agree with Lady Lucas. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Origins of bowing.
As this concerns music history, perhaps it is not too far off topic. What is the history of musicians bowing after a performance? Bowing here means bending at the waist, not using horsehair to vibrate strings. Searching with Google yields only items concerned with bowing strings. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] English in the time of Dowland.
Suppose one were interested in learning to speak English with an accent approximating that that Dowland might have had, with the idea that this might help him understand Dowland's music better. How would one proceed? Would any modern British accents be close? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Latin and lute.
According to Wikipedia, Latin was the language of scholarship, science, and internation communication until around 1725. However, I've not seen much of Latin in lute music. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Which music benefits the most from gut?
Are there types of lute music which benefit more than others from gut? Logically, one might answer fast music with thicker textures, because there are more conflicting notes for the gut to ameliorate. However, subjectively I'd guess slower music with thinner texture, because there over-long notes are more conspicuous. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] density of carbon and nylon
Does anyone have numbers for the density of nylon and the density of carbon? Or, equivalently, a chart showing diameter x in nylon = diameter y in carbon? I used Google for several minutes, but did not find anything. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] How to distinguish carbon from nylon.
Is is possible to distinguish reliably between carbon and nylon if the string's packaging is not available? I've seen a knowledgeable person rub the string, but I don't know whether he was listening to the sound, feeling the texture, or judging some other aspect. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Gut string prices.
Possibly of interest to the list community. Sorry if I'm posting old news. http://gamutmusic.squarespace.com/news/string-economics-101.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Volume versus tone.
In building a lute (and especially the sound board), is there a trade-off between tone and volume? Or does optimizing one automatically optimize the other? And similarly, is there a trade-off between tone and durability? In other words, can the builder achieve a better tone at the cost of a more fragile instrument? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: fret gut
Some of the pressure from the LH fingers is to prevent buzz. For example, if the string laid against the fret with zero distance, you'd still have to apply a considerable amount of pressure to prevent buzz. Factors are: (a) the distance from string to fret, (b) the string tension, (c) the pressure needed to prevent buzz (as above). Factors (a) and (b) are involved in getting the string to the fret, and (c) comes into play after the string is against the fret. This has frustrated me in the past. I would lower the acticn radically, only to find that the reduction in pressure was not as great as I'd hoped, because of (c). To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: My First Lute
I bought a Pakistani lute about 7 years ago. Waste of money. Not playable. It was only a month before I went ahead and bought a real lute. Maybe they've gotten better since then On Tue, 31 Jul 2012, A.J. Padilla MD wrote: As I recall, over the years there have been several threads about the Pakistani lutes, all pretty much negative, essentially to the effect that you need all new strings, have to change the action by altering the fingerboard and/or bridge and/or nut, and tolerate a thick, poorly-made soundboard, they're ok. If you can get into the lute archives, the stuff is there. I have no personal experience with those instruments, however. Note that the Lute Society (in the UK) has a list of luthiers both in Europe and N America. I would think that the LSA (Lute Society of America) has a similar list. Do you perchance have a firstborn child, or an extra gonad, or perhaps a kidney you might want to offer for a real lute? Al Padilla -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Bruno Fournier Sent: Tuesday, July 31, 2012 3:06 PM To: William Samson Cc: Jim Ammeson; lute@cs.dartmouth.edu Subject: [LUTE] Re: My First Lute I would suggest you try and rent one from a local lutenist, or perhaps check with the university music faculty if there would be one available on loan. A regards A Bruno Cognyl-Fournier Montreal Canada A A On Tue, Jul 31, 2012 at 1:32 PM, William Samson [1]willsam...@yahoo.co.uk wrote: A A A difficult one, Jim. A Most lutes are built to order for a customer - A A unfortunate because the customer doesn't get a chance to try it before A A committing to buy it! A A There are, however, some off-the-peg lutes available. A Closest to your A A price range are the lutes built (in Pakistan??) for the Early Music A A Shop in England A A [1][2]http://www.earlymusicshop.com/product.aspx/en-GB/1000655-ems -8-cours A A e-renaissance-lute A I have recently seen and tried one of these and A A found it to play very well. A I don't know if similar lutes are A A available in the US but would be surprised if they aren't. A A The other possibility is the second-hand market, but you're in the lap A A of the gods, there. A A Good luck in your quest! A A Bill A A From: Jim Ammeson [3]jimastr...@yahoo.com A A To: [4]lute@cs.dartmouth.edu [5]lute@cs.dartmouth.edu A A Sent: Tuesday, 31 July 2012, 17:31 A A Subject: [LUTE] My First Lute A A A So, I've been considering buying a lute for a few years now, but I've A A A had trouble finding places I can really try playing one or many A A people A A A I can talk to about them. A (Lutes are a bit of a niche thing, I A A know.) A A A A lutenist at the local renaissance faire suggested this list, so I A A A thought I'd post. A A A So, I'll just explain my situation, right now: A A A I've been playing classical guitar for about 5 years. A I play lots of A A A baroque and renaissance music, love the stuff. A I'd really like to A A try A A A playing a lute or two before deciding if I want to make the A A investment A A A in buying one. A As of right now, I don't have much over $500 to spend A A A (I know that's not probably enough for one that's really worth A A having, A A A unless I get a good price on a used one or something), but I'm A A A *willing* to spend more, just don't have it *now*. A (I'm a college A A A student, nuff said?) A A A I live in the Chicago area, and have asked around if there's anyplace A A A in the area whatsoever that makes lutes, and have tried looking A A online, A A A but haven't found anything. A I've asked around at renaissance faires, A A A as well, and, again, just was directed here by one lutenist. A A A So, any advice as to what a beginning lutenist should do? A Where to A A go A A A to try a lute for the first time and see if it is really something A A for A A A him? A I've been thinking an 8 course lute would be good for the A A pieces A A A I play to play...Bach and Dowland and the like? A Any general advice A A is A A A also appreciated. A A A -Jim A A A -- A A To get on or off this list see list information at A A [2][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html A A -- References A A 1. [7]http://www.earlymusicshop.com/product.aspx/en-GB/1000655-ems-8-co urse-renaissance-lute A A 2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- A Bruno Cognyl-Fournier A [9]www.estavel.org A -- References 1. mailto:willsam...@yahoo.co.uk 2.
[LUTE] Survival of folk music from 1400-1650.
I've always assumed that little of the folk music from 1400-1650 has survived, except for that preserved as lute arrangements (Go From My Window, Fortune My Foe, etc.), because of the low literacy and the high cost of paper. Is this accurate? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pronunciation of Fuenllana's name.
I would suggest Fwenyana not fwaynyana. r Muchas gracias a todos Ustedes por la ayuda. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Stephen Fryer Sent: Tuesday, March 27, 2012 11:36 AM To: Herbert Ward Cc: lute@cs.dartmouth.edu Subject: [LUTE] Re: Pronunciation of Fuenllana's name. On 27/03/2012 5:42 AM, Herbert Ward wrote: Is Fuenllana pronunced fwayn-YANnah in analogy to the modern Spanish word fue? Or is it pronounced foo-en-YANnah, which I've heard more often? Probably fwayn-LYAN-nah Do we know much about pronunciation in the 16th centurey Spain? Yes. As a good start see _Singing Early Music_, edited by Timothy McGee, published by Indiana University Press, 1996. Stephen Fryer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Pronunciation of Fuenllana's name.
Is Fuenllana pronunced fwayn-YANnah in analogy to the modern Spanish word fue? Or is it pronounced foo-en-YANnah, which I've heard more often? Do we know much about pronunciation in the 16th centurey Spain? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Questions about braces.
I've often heard of a loose brace causing buzzing. But never I've heard of a loose brace causing damage because of the lost support. How much of the bracing would have to be lost to make the lute (especially the soundboard) liable to damage? And, is there a domino effect, where one loose brace causes the other braces more liable to come loose? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Alcohol as glue breaker.
I asked a luthier how he broke the glue joint in doing a repair. I expected to hear a description of some variation of wet heat. To my surprise, he said that he used anhydrous ethyl alcohol (eg, 190 proof Everclear liquor). He said that the alcohol drawa all the water out of the glue, and that perfectly dry glue has no strength and comes apart easily. Does anyone else use alcohol? Why do some luthiers use alcohol and others use wet heat? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String hairs
How do you apply it Ed? Do you take it completely off the lute, or apply with extreme care and a match stick, or similar? I'd guess that slipping a sheet of wax paper or plastic between the lute and the string would be as safe as removing the string entirely. I'd use a double layer: paper towel (for absorbancy to prevent runs) and plastic (for imperviousness). And I'd practice beforehand on regular household string. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String hairs
Check that the super glue does not, by any chance, dissolve the plastic. On Sun, 29 Jan 2012, Herbert Ward wrote: How do you apply it Ed? Do you take it completely off the lute, or apply with extreme care and a match stick, or similar? I'd guess that slipping a sheet of wax paper or plastic between the lute and the string would be as safe as removing the string entirely. I'd use a double layer: paper towel (for absorbancy to prevent runs) and plastic (for imperviousness). And I'd practice beforehand on regular household string. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Beeswax as nut lubricant.
I just got 5 ounces of cosmetic grade beeswax. This is plenty for me, so if you would liks a free sample (a few grams) and you're willing to send me a stamped self-addressed envelope, send me email at wardhj...@hotmail.com. And, while we're on the subject, how might one remove beeswax from the string and nut? The Wikipedia article mentions turpentine as a solvent. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Witch hazel.
I have a bottle of witch-hazel, a topical medicine available in any drug store. The label says that it is an astringent. The Wikipedia ariticle on astringents says that they dry, harden, and protect the skin. This makes me wonder whether there are circumstances under which witch-hazel might be beneficial to our fingertips. Does anyone know enough dermatology to give us an opinion? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Non-stretchy pegbox leaders.
We had a discussion similar to this three years ago (Dec 7 2008). However, I'd like to revisit the subject with my question rephrased to focus more closely on my problem. Stretching of strings between the nut and the peg is causing me severe difficulty in tuning -- I can turn the peg 90 or 120 degrees with no response in the pitch. Lubricating the nut is of course a possibility. But I'd also like to try replacing the portion of the string between nut and peg with a leader of some material which (a) does not stretch, (b) can be tied securely and easily to the string, (c) will not slip on the peg, (d) will not damage anything, (e) is strong enough, and (f) is readily available. Does anyone have experience in this? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: cold finger tips
I'm interested in any remedies for cold finger tips, which I invariably get when I play a gig in a cold room. Very frustrating-fingerless gloves? chemicals?, Holding a cup of tea an hour before? Method 1 of 2: They sell chemical hand warmers (iron powder with a catalyst for oxidation). If you go to amazon.com and type hand warmers into the search box, you'll find many to choose from. Method 2 of 2: This works very well at home, but you will have to modify it somewhat for gigs. 1. Fill a bowl with very warm water. 2. Leave the bowl in the bottom of the sink. 3. Leave a small stream of _hot_ water running close to the bowl, but not into the bowl. 4. Put your hands in the bowl and pass the time doing finger exercises. 5. As the water cools, slide the bowl under the stream of hot water from time to time. 6. When your hands are warm, dry them quickly with a towel, and then finish drying with a hair dryer hanging from towel rack or a dresser. This unfortunately takes the oil out of your skin, so you may want to use a moisturing lotion once a day. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String material and inharmonicity
For what's it's worth, you can objectively measure inharmonicity using a strobe tuner. Inharmonicity appears as relative movement of the octave bands in the display (ie, the bands are moving relative to each other). BTW: There are some LCD display strobe tuners which I suspect are not true strobe tuners because the bands never move relative to each other. If it has a mechanical rotating wheel, then it's a real strobe tuner. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] m and i connected?
When I do p-i scales, I notice that my m finger moves quite a bit along with the i finger. Do these two fingers (m and i) share tendons or muscles? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cuts and burns on fingertips.
To make superglue dry instantly, you can use a solution of baking soda (not baking powder) in water. If you want a smooth surface, be sure the baking soda is completely dissovled in the water. Certain adhesives used by surgeons, though similar to superglue, are distinct, as discussed here http://www.straightdope.com/columns/read/2187/was-super-glue-invented-to-seal-battle-wounds-in-vietnam To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Any vestigial Renaissance spots left?
Laboring under the idea that the Renaissance musicians were a product of their times, I wonder to what extent it might be possible to visit, as a tourist, spots in the world with Renaissance-like attributes in their culture (cities, neighborhoods, music schools, etc). To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ditto in MP3 format instead of WAV.
Here is the same ear training (ascending and descending melodic intervals) in MP3 format: http://classwk.net/auxDocs/eartraining.mp3 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ear training WAV file.
Here is a free WAV file for ear training. In the past, I have found such ear training musically helpful and challenging. I once audited a course in introductory musicianship at a large music school, and this type of ear training was an important part. Please do not advertise the WAV file outside of our lute forum -- my server does not have unlimited bandwidth. You will need a sound-capable computer. The WAV file contains ascending and descending melodic intervals. Later I will make a fancier one with more challenging exercises, and perhaps some exercises dedicated to issues in early music, such as temperament identification and mode identification. Error reports and suggestions are welcome. INSTRUCTIONS: 1. Download the file, using the URL http://classwk.net/auxDocs/eartraining.wav 2. Double click the file. 3. You will hear a. a sequence of two tones, b. three second of silence during which you should identify the interval to yourself, and c. a sequence of beeps which indicate how many frets (half-steps) separate the two tones. For example: a. The note G followed by the note A. b. Three seconds of silence. c. Two beeps, indicating that the notes were two frets apart (a major second). Please do not advertise this outside of our lute forum -- my server does not have unlimited bandwidth. If you really want to do this, you are welcome to copy the WAV file to your own server. You can get one easily and cheaply thru commercial services such as HostGator or GoDaddy (try HostGator first). To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ear training for lute playing.
I would like to make or obtain a computer-generated MP3 file or CD for ear training, adapted to lute playing. If I make my own, besides the usual identification of intervals and chords, I would like to include identification of scales. My initial choice of scales is: major natural minor melodic minor harmonic minor dorian Is this a good set of scales for lute playing? Are other scales (ionian, phyrgian, mixolydian, etc.) important? Are there other exercises besides interval, chord, and scale identification that would be good to include in the MP3 file? I will post the resulting MP3 file online for readers of this forum to download, if/when I complete the project. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Temporary strap button.
I'm interested in putting a strap button onto my lute close to the neck-body joint (ie, around the 11th fret). Before investing the time, money, and irreversibility in having one installed, I'd like to try a temporary button at that location. Is it feasible to attach such a temporary button/hook without danger to the lute or its finish? How might one do this? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: good bad instead of strong weak
Thanks for the info. But did our historical forebears think of these words good and bad in the context of morality or religion? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] good bad instead of strong weak
Everyone is familiar with the idea of strong and weak beats. I remember reading that, at some historical time and place, these were called good and bad beats (perhaps not in English). Any info on this? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Guitar Grease.
There is a lubricant called Guitar Grease. From appearances, it is graphite suspended in hard wax. I tried it on two nut slots, and I think it works signficantly better than soft (6B) pencil lead. Does anyone have anything negative to say about this stuff? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Hand moisturizer.
What is a good hand moisturizer for lute playing? Lubriderm moisturizes well. But it leaves my fingers catchy, even to the point of squeaking slightly on the strings. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Strobe tuners.
I have an old Peterson mechanical-wheel strobe tuner. It is big, heavy, expensive, and must be plugged into the wall for power. But it works much better than any battery-powered tuner, including those which have strobe in their names. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: clip-on strobe tuner with 1/6 MT
A mechanical-wheel strobe tuner has several advantages over the battery-powered strobe tuners that I've seen. By showing multiple octaves (four or five of them) simulataneously, it gives you an instant, easy-to-see, and unambiguous indication of whether a string is false. Since it has no digital signal processing (which I've seen in the little battery-powered strobe tuners), the display is real-time and lets you see to what degree the string changes pitch as the amplitude of the the vibration decays, which I think is a factor in practical plucked-string tuning. And, sometimes I wonder whether some of the little battery-powered strobe tuners are indeed of strobe mechanism, and are not in fact really the same as the needle tuners with merely a display which looks like a strobe display. On Tue, 8 Feb 2011, David van Ooijen wrote: On 8 February 2011 17:04, Mjos Larson rockype...@earthlink.net wrote: I have been concerned whether the clamp would open wide enough for easy attachment to a lute pegbox or theorbo extension (no problem on The clamps of the cable-and-clamp (Korg/no name/Seiko) fits. The clamp of the Korg clip-on fits. the machine's bars kept moving even after my Korg tuner and my ear My friend has a Petersons strobe tuner for his guitar. It does need getting used to. I prefer the display of the Sonic. Needle-style tuners (Korg et al.) are _much_ less precise in their read-out. How do strobe tuners deal with sharps and flats (such as D# and Eb) which are different in MT? Is there a distinction? Does the tuner The tuner will be preset with either Eb (most likely) or D#. If you need the other, check the fret on another string that does match with a note in the tuner. No problem. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Examining frets.
Do you need to change a fret if it looks OK under a magnifying glass? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Super glue and cotton thread.
Hi Bruno -- ... how to splice wound strings ... The technique also works for unwound strings. It works best if the splice is near one end of the string. Then the differential equation for a vibrating string is not greatly disrupted, and you don't get a very false string. If the splice is towards the middle of the vibrating length, the string might not sound good, but might be bearable. Also, of course, It works better with diaspasons, where the splice won't buzz against the fretborad or frets. Here are step-by-step instructions: 1. If the strings are nylon, gut, or carbon, melt a little globe at the end of each string. 2. Juxtapose the two string ends with, say, one centimeter of overlap. 3. Get 100% polyester thread (no cotton). 4. Wind thread around the overlapped region. This is difficult, because it requires three hands or four hands, so to speak. You might get a friend to help. Or you might use clothespins to hold the strings while you wind the thread. I can do it alone using fret-tying technique. 5. At this point, the two strings should be held together tightly along one centimeter. But, of course, the thread will not hold up under playing tension. 6. Now apply super glue to the splice. 7. If you're in hurry, you can apply a slurry of baking soda in water (not baking powder) to speed the hardening of the super glue. In fact, such a slurry will harden the super glue instantly. I've had success in doing this with metal-overspun strings. Others have reported success with gut. Merry Christmas to you, Herbert On Wed, 22 Dec 2010, Bruno Fournier wrote: Sorry I missed this thread ( no pun intended) Would you explain how you splice wound strings? I have some expensive copper wound Savarez strings for my basses on my liuto attiorbato, and the wire typically gets broken just before the nut when I tunehence giving me a rather dead sounding string Wonder if I could at least splice it to give it extra life...  thx  Bruno Cognyl-Fournier www.estavel.org   On Wed, Dec 22, 2010 at 11:45 AM, Herbert Ward wa...@physics.utexas.edu wrote: The MSDS for super glue and the Wikipedia article both warn against using super glue with cotton.  So, when splicing strings, using the technique discussed earlier, it might be better to use 100% polyester thread instead of cotton thread. I have had good success splicing metal overspun strings this way, but it takes a bit of technique to get the thread wound and tied. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Pyramid gauges for overspun strings.
Overspun strings from Pyramid have weird gauge numbers, for example, 1124, 1016, and 10095. They are not, I think, simple diameters, since the 10095 string is smaller than the 1124 string. How does one interpret these numbers? Optimal would be a table with the linear density, like this: 11240.259 g / cm 10160.183 g / cm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] X-strap.
Some weeks ago, I saw here a reference to an x-strap. Google sheds very little light on this subject. Could someone provide further information? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Super glue and cotton thread.
The MSDS for super glue and the Wikipedia article both warn against using super glue with cotton. So, when splicing strings, using the technique discussed earlier, it might be better to use 100% polyester thread instead of cotton thread. I have had good success splicing metal overspun strings this way, but it takes a bit of technique to get the thread wound and tied. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Fortune My Foe as duet.
I have Dowland's Fortune My Foe. I believe there is a set of divisions (or trebles) to it which make the piece playable as a duet. Can anyone help me find these divisions? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: tying two strings of different thickness together?
I have used super glue to splice strings overspun with metal. There were no bulges, but it worked OK anyhow. To harden super glue instantly, apply a mixture of baking soda and water to the glue. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Where to buy Serdoura's Baroque Lute method book.
Can anyone recommend a place to buy the book Method for the Baroque Lute by Miguel Serdoura? I've found it at www.sheetmusicplus.com www.utorpheus.com www.di-arezzo.co.uk but I've no experience with any of these sellers, and in particular I'm worried about possible troubles in buying internationally. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
