[LUTE] Re: (LUTE) Ownership
In a message dated 9/8/2005 12:22:24 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: (but whenever I feel the need to menace a cat I tell her "you could be my next treble string" :-)) I know this is a joke, but I assume everyone on this list realizes gut strings are from sheep? I only mention this because there was a serious dialogue on a guitar list in recent memory where they got quite over heated about the "catgut" issue. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ophee - his views
In a message dated 9/1/2005 9:22:32 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Of course not. Where is your logic? Actually I had no time and interest to find out what MO was fighting and why. Not very entertaining. best regards, Arto Hi Arto, All this folderol reminds me of the story of some violinist biting Weiss's thumb? I guess times haven't changed so much... James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ophee
In a message dated 8/28/2005 8:47:20 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: As to his style: it is a small collection of journalistic cliches rehashed ad nauseam. Probably; but I've been reading this list for the last three years or so, and I don't recall your contributions to enlightenment so much either, apart from the scathing one-liners. I do think you're a very intelligent and no doubt talented individual; why can't we all just agree to disagree about Mantanya? Why is this so important? Being somewhat new to this list, am I missing something regarding prior history? Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ophee
In a message dated 8/28/2005 8:53:29 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: The fact is that content-based restrictions are inherent in this list, and the only question is where the lines are to be drawn. The fact is that content-based restrictions are inherent in this list, and the only question is where the lines are to be drawn. So calling it "censorship" doesn't end the debate, or, in my view, even contribute much to it. Nothing to debate really, we're not the ones "drawing the lines" here. So call it whatever pleases you. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ophee
In a message dated 8/27/2005 4:26:39 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: You'd find out how little it bothers you if Wayne stopped filtering for spam. Okay, I get it; everyone(?) hates Mr. MO. It's still censorship. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Censor, was Ophee
In a message dated 8/27/2005 6:43:17 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: My dictionary gives censor as "an overseer of standards and morals" BEFORE the more familiar notions. Seems to fit this scenario... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ophee
If you want to defend tolerance, free speech and Voltaire, you are on the wrong side of the border, in my opinion. Okay, maybe so, but censorship bothers me. After Roman's post I had to go look up the word censor again. :) Maybe he has a different dictionary than mine, but the word fits according to Webster's. I'm not defending Mantanya (what's with the MO thing, have we gotten too lazy to spell out a name?); just his right to speak his mind. Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: to Matanya Ophee
In a message dated 8/27/2005 12:33:15 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: This is the lute list however, and Ophee had nothing to say about the lute in this discussion, as he admitted himself. There is no censorship involved in Wayne's decision. Just common sense. Alain However, many lutenists on this list feel free to voice their opinions about the guitar. That's fine with me, as I play both, and enjoy the dialogues and exchanges on this forum. It's very easy to press delete, isn't it? So; suppressing someone's opinion you don't agree with is "common sense"? I don't think Voltaire would have agreed with that. :) Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: to Matanya Ophee
In a message dated 8/26/2005 5:09:47 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Since you have made it clear that your main purpose in posting to the lute mail list is to harass someone, I am taking measures block your posts to this list. Wayne Cripps Lute mail list manager Censorship is more offensive than offensive letters. Sincerely, James Edwards -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: OT: Mozart for guitar
I think guitar habitually makes unrealistic claims.. > > Such as? > > JE Ever seen the Yamashita circus? RT That's an excellent specific example of one person's "unrealism", I agree; but I was hoping for an explanation of your seemingly general "claim" about the "guitar's habits". JE -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: OT: Mozart for guitar
In a message dated 8/3/2005 1:52:30 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: I think guitar habitually makes unrealistic claims.. Such as? JE -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: OT: Mozart for guitar
In a message dated 8/3/2005 2:36:16 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Segovia also said: The song of the piano is a discourse. The song of the 'cello is an elegy. But the song of the guitar is a song. (Actually, to be more correct, he said "The zonk of the guitar is a zonk", but I have translated/transliterated) But what is the song of the lute? The song of the lute is transcendental. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: OT: Mozart for guitar
In a message dated 8/3/2005 1:37:05 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: And Mertz, Carcassi, Carulli, Matiegka, von Call, Gragnani, Sychra, Weber, etc. Feel free to enjoy the guitar for what it is; there's no need to pine over what it has not been. Not pining, but I think Mozart was a much better composer than the ones mentioned above; it would've been interesting. Any guitar that Mozart might've heard at that time would probably have been the five course type anyway... James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: OT: Mozart for guitar
In a message dated 8/1/2005 11:10:02 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: But there are many original 19th century arrangements ;-) of Mozart pieces for guitar. Apart from the obvious Sor, Diabelli, Mertz, Morlitor and Traeg come to mind. There's a well-done new edition of 'Mozart for Guitar' from Doblinger (35 910). Not to mention James Edwards arrangements of Mozart's (so called) "Viennese Sonatinas" for solo guitar; published by Mel Bay. :) I guess my point was; wouldn't it be great to have a genius like Mozart ( assuming he would know the guitar as well as he did the piano) writing pieces for guitar? James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Byrd
An ingenious adaptation (arrangement) of a Ravel piano piece surely classifies as an original guitar piece, as original as a branle from the Treasures of Orpheus. It depends on how well you transform it into a guitaristic idiom. And how much more original can you get than Ravel's arrangement of Mussorgsky's piano pieces? Hi Arthur, I wish you could convince Mel Bay Pub. of that. :) I tried to explain to them that my arrangement of American folk songs, I call the piece "Pioneer Suite", should be considered an original composition, especially since I worked in original material along with the traditional melodies. I think Brahm's "Hungarian Dances" is a good example of an original work based on traditional music. However, Mel Bay pays higher royalties on original works, so it's not in their best interest to look at it that way. I'm not really complaining, just using this as an example; there's no money in this biz anyway. :) I made an arrangement of a Ravel Pavane that came out very well, but I wouldn't feel right calling it an original work for guitar by James Edwards... It certainly is an act of creativity though, and I think good arrangements are valid on the concert stage or anywhere. I do wish Mozart had written for the guitar though. :) James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Byrd
Hi to all, It seems that Ness is saying that a keyboard composition, reworked (arranged) for lute, can qualify as an original lute piece. Thames is saying, not so. Do I have this right? I'm a little confused about this thread... I've published several books with Mel Bay Publications of my arrangements for guitar: works by Debussy, Handel, Strauss, Bach, Schubert, Mozart, etc. Even though a lot of creative work goes into these arrangements; in no way would I consider them to now qualify as original guitar compositions. I've had a very busy and tiring week, so forgive me if I'm missing the obvious; but it seems to me that Michael has a valid point about all this. Being a nice person and valued musicologist is not the issue here, is it? James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Neceffarie obferuations
Hi to all, As a guitarist who sometimes cuts off his nails to play lute, I thought I'd throw in my opinions regarding the recent discussion about nails, speed, etc. I find when I've played guitar with no nails that I can play most things still pretty well, and the sound of course is very warm. However I can't play tremolo, fast clear scale runs, or fast arpeggios, with no nails. Probably with time I could; I know Jason Yoshida, (Hi Jason, I need to call you!) a fine lutenist and baroque guitarist, plays the early classical guitar with no nails and he has plenty of speed. Perhaps, as Michael Thames mentioned, that is partially a function of that type of instrument I've been told by flamenco guitarists that Paco de Lucia plays with very short nails, but he is an unusual phenomeno, to say the least! By the way, my memory of the abum where he plays with McLaughlin and Dimeola, is that he not only could play as fast, but his sound was clearer and stronger; he made them sound rather sloppy, at least to my ears. But it's been a long time snce I heard that record. I play lute thumb out, except for certain passages of single notes (6 or more), and will switch to thumb under for those. I took a lesson recently with Ronn McFarlane and he felt that after the first few rows (in a concert situation) that it didn't seem to matter so much soundwise whether the lutenist was using thumb under or thumb out, nails or no nails. However, Ronn is a very gracious and generous teacher, so maybe he was just trying to make feel better. :) Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Built-in action?
In a message dated 6/17/2005 12:33:15 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: It's not a misconception - on a classical guitar, as you surely know, one method of construction has the neck in line with the body, but then the fingerboard is thinner at the higher frets, producing the same effect as angling the neck "upwards" - on this point I disagree with Tim. If you angle the neck backwards and your fingerboard is uniform thickness, then you are likely to buzz from the first fret - the pull of the strings may compensate. I've played many baroque guitars where the neck angle definitely affects the action, same with classical guitars. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Pasquini - bezifferten Bassen?
Hi to all, I have an edition from Verlag Doblinger of a Sonata in D minor by Bernardo Pasquini (1637-1710) arranged for two guitars. Under Pasquini's name it says: Nach zwei bezifferten Bassen. I'm wondering what instrument that might be? The music is quite pleasant and worthwhile. I'm thinking maybe it was for mandora? Both parts are in two voices primarily, and the writing doesn't seem to be idiomatic for gamba or cello, for instance. Thanks, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Weiss - Lorimer
In a message dated 4/4/2005 8:00:31 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Something strange about my letter; I wrote Lorimer, yet >the forward spells >it's Lorimar. What's up? >James I don't know the same thing happened to me, did you get a scolding from Roman yet? Michael Thames I've known Michael Lorimer for over 25 years, he's a great scholar and muscian. I like to think I have a sense of humour, but I guess I'm missing the point about misspelling the man's name. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Willams Concert
Something strange about my letter; I wrote Lorimer, yet the forward spells it's Lorimar. What's up? James > Lorimar is doing great work I'm sure, but Weiss, even more >than Bach, has always seemed uncomfortable to me on the >guitar. I believe Michael is transcribing them for six string. >Your 13 string guitar sounds like the way to go; would you >tune it to the d minor tuning? Keep us posted. >James Yea, I think Bach is much easier on guitar than lute, funny enough, and Weiss is easier on lute than guitar. I visited Lorimar, a few years ago and watch him play several Weiss Sonatas, it seemed rather painful, coming from the perspective of a lutenist. Yes I would tune it to D minor, some of my ideas would be to join the neck at the 10th fret, but have 14 frets, and tilt it as on the baroque lute, with a kind of swan neck head, as well as perhaps, the core of the neck as on a 19th century guitar, for light weight. Any suggestions by you and others would be interesting. I feel it doesn't take that long for a guitarist to adapt form six to thirteen. It's really worth it just to play all of the Weiss and Bach alone, and the rest of the baroque repertoire. This has been on my mind to do for years, so maybe this year. As I said, build it and they will come. Michael Thames -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Willams Concert
In a message dated 4/4/2005 4:34:07 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: My friend was just at Lorimar's a few days ago and tells me, Michael Lorimar has already transcribed 40 sonatas of Weiss, for guitar, and working on the rest. Soon to be published. Lorimer is doing great work I'm sure, but Weiss, even more than Bach, has always seemed uncomfortable to me on the guitar. I believe Michael is transcribing them for six string. Your 13 string guitar sounds like the way to go; would you tune it to the d minor tuning? Keep us posted. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Original Rags for renaissance lute!
In a message dated 4/3/2005 11:58:23 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Don't forget the "inequal" if you play it! Without it there is no swing... :-) Hi Arto, That sounds like fun, but regarding the inegales my understanding is Joplin wanted his Rags played straight, and "not too fast". There's even a piece from the period called "Don't Jazz Me Rag"; which of course means people were doing it. :) Joplin especially, was trying to make Ragtime respectable, and maybe he felt the jazzed eight notes smacked too much of saloon music. Musically though, the effect between the two styles is very different, and his music sounds more lyrical and beautiful without the "inegales" to my ear. I look forward to checking out your arrangement, thanks! James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Mesmer
Sorry, he lived to 1815, not 1835. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: mesmerization
Did Mesmer (1734-1835) play lute or guitar, and did he advocate sight reading or memorization? Spellbound, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: memorization
This is really a very interesting thread! I memorize pieces for solo performance, and sight read (duo, or whatever) ensemble pieces. I find that memorization actually gives me much more freedom in interpretation, from one performance to the next. I memorize the notes, not the way I play them. The guitar repertoire is as vast as that of the lute; it's not like we have to just learn a few "masterpieces" and then begin our world tours. For the audience, I think concerts are like "theatre". To sit down and play with nothing between you and them but your instrument, probably seems a bit magical. Imagine going to a production of Shakespeare, or an opera, and having the cast walk out with notebooks to recite their lines from, or remind them of the lyrics... James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Walter Gerwig
In a message dated 3/25/2005 9:41:59 AM Pacific Standard Time, [EMAIL PROTECTED] writes: The late Walter Gerwig played all the music on his 10-course renaissance lute. It surely is possible but early music is about to play the music of the time on the instrument of that time, isn't it? Hi to all, Gerwig's recordings were among the first I ever heard of lute music. I'm very curious about his using the 10-course on everything. Did he transcribe the Baroque lute pieces into Renaissance tuning, or retune his 10-course to the "D minor" Baroque tuning? James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: (Hoffmann Mandora/Gallichon) - theorbo in the 19thC
In a message dated 3/17/2005 4:58:57 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Yesterday I played the 2 Sor pieces from http://polyhymnion.org/swv/opus-2.html on my 13-course. Did it turn it into a guitar? Hi Roman, I was just thinking some of Sor's etudes might sound really well on a Baroque lute! I arranged some Baron for guitar, using a tuning similar to the Baroque "d minor"; maybe I should call my instrument a "guitarbo". :) James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Hoffmann Mandora/Gallichon
In a message dated 3/16/2005 5:37:40 PM Pacific Standard Time, [EMAIL PROTECTED] writes: ++Unfortunately this has just been demonstrated graphically among a group of people who should know better. Without mentioning the name of the organization specifically, when a (past not current) membership directory was published and distributed, someone had gone through the listing and changed the word "lute" to "flute" wherever it occurred. So it listed my one of my instruments as "renaissance flute." I have received inquiries from prospective brides, when referred from a local music academy, as to my availability for playing guitar and renaissance flute at their wedding... I should probably charge a lot more. :) James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Gut strings
It seems ironic for people who think gut has the best sound, to sacrifice that sound on the chanterelle, where it probably has the most noticeable effect... It almost makes more sense (unless you can afford to buy all gut strings) to have nylgut or nylon (which can literally last years) on every course but the 1st and 2nd; and to use gut on those strings, where the melody is most often found. Just an idea... James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: non-lute message
Hi to all, Personally, I'm more interested in hearing about lute related issues, and I would agree with Caroline's request to stop with the political discussions; however, we should all feel free to talk about what we wish. If it pleases some of you to continue with the obnoxiousness, carry on... Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
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 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Instrument Sounding
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: Rubato and rolling chords
In a message dated 10/31/2004 4:57:49 PM Pacific Standard Time, [EMAIL PROTECTED] writes: However there is something to be said against the actual mechanical practice of being absolutely precise in every note. Specifically running passages. If all of this is played mechanically, and mathematically it is pretty boring and unmusical. I have found that you can stay within the cadence of a metronome without losing a beat and still shape these passages musically by starting them slightly slower and finishing them slightly faster, starting and ending exactly where they are supposed to, there by preserving the integrity of the rhythmic nature of the composition. The beat remains the same, the meter remains the same but the content is slightly shaped within that frame work. It took me a long time to learn this lesson because I was originally taught to be mathematically precise, and then told to shape the phrases. At the time the two seemed to be mutually exclusive. I agree! That's sort of what I was talking about in my "rolling of chords" post. I believe the broader your sense of pulse is the better; you've got to feel where "one" is of course, but phrases are usually longer than a single bar, even in dance music. I'm probably not explaining this very well, but I'll leave it at that for now. It's funny that singers always want me to slow down, and dancers always want to go faster than feels musically "right". :) James -- 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
Hello to all, The rolling of chords does not necessarily jeopardize rhythm, even in dance pieces. I was thinking about this tonight while playing my restaurant gig, rolling chord after chord. :) If you have a strong sense of the "pulse" of a dance piece, you can do almost anything and make it work. I do agree too much "rolling" can be annoying. I know jazz musicians try to always have a feel for where "one" (the downbeat of a measure) is. I just don't want the rolling of chords to be blamed for some musicians' lack of rhythm. :) I'm surprised to hear about Julian Bream's remarks, perhaps he's just trying to get students back to basics. I remember a conversation with Oscar Gighlia many years ago, he said things were not going so well with his duet partner; and that "he (Gighlia) didn't want to be told whether he could roll a chord or not". Sincerely, James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: lute siting (sighting?)
Hi Ed, The only movie where I remember seeing an "early music" instrument that looked like the real thing and also sounded like it as well, was Polanski's "Pirates", from the early 1980's; I was impressed by that short scene of the heroine playing a baroque guitar. I wonder who the studio musician was? There was also a French movie with a gamba player as the hero, "All the Mornings of the World"?, which had the music and instrument accurate, but the actor was obviously playing "air gamba", and not very well, at that. :) James --
Re: HIP, etc.
Hi Bill and all, A very un HIP album by John Renbourn turned me on to early music, way back in 1972. It was called "Sir John-a-lot, of Merry England's Musick Thing", or something like that. I think the story was that he'd been reading "Sir Gawain and the Green Knight, and was inspired to do an album. He played his own setting of Byrd's Earl of Salibury's pavan, a medieval Trotto and Saltarello, and some of his own pieces in "early" style; all on steel string acoustic and electric guitars. Then of course Julian Bream's (most decidedly un-HIP, at least regarding technique and instrument) lute albums, especially with his consort, were very inspirational. Maybe we should issue little HIP cards for performers to keep in their wallets, so they can prove to people they're hearing a "certified" correct musical experience. :) I try to study and learn all I can about Renaissance and Baroque music, but one of the things most exciting about it to me is there is no "one way" to play it; unlike much modern classical music where the composer gives so many directions about interpretation. I prefer to hear a proper lute, played properly, with proper strings and proper technique; but I do miss the creative music making of Bream and Renbourn sometimes. Sincerely, James --
Re: Francisque CD
Hi Bill and all, Hans Kockelmans has kindly remastered my Francisque CD, and the sound is much improved. Thanks Hans!!! I'll repeat my offer of sending a CD to anyone who wants one, including those who received the first version. Just e-mail me your mailing address. The MP3's on my website don't really sound good, so I'd rather make it available this way. I need to redo the artwork and make copies, etc., so with that, and shipping time, allow a month or so before it shows up at your door. Sincerely, James --
Re: : more copyright issues
Hi Ed, You make some interesting points. I have a classical guitar book coming out soon (Pioneer Suite) with Mel Bay Publications, of my arrangements of 19th Cent. Americana; Foster, Joplin, McDowell, folk songs, etc. The title track's arrangements feature settings which resemble compositions, at least to me. :) It's similar to Brahm's settings of the Hungarian Dances, or Copeland's setting of the Shaker tune from "Appalachian Spring"; not that I'm putting myself in their category by any means. However, I've had discussions with the publisher about this subject, and there was resistance to the idea of "Pioneer Suite" being a composition; I'm sure it's directly related to the difference in royalties between compositions and arrangements, that you noted in your e-mail. I'm quite happy to have Mel Bay publish my work, there's no money in this business anyway; but on principle, you kind of want to get credit for doing something really creative, that is above and beyond a simple transcription or arrangement. Cheers, James --
Re: Francisque
Hi Tom, and all, My computer has been down for about three days, so I haven't been able to respond to comments. Thank you to all who wrote back to me. It's a sorry state when something as benign as a lute site can be corrupted by (for lack of a better word) crap. Anyone who wants to hear this music of Francisque need only give me an address to send it to, and I will mail you a CD. Francisque seems an intriguing composer, and I am interested in your opinion of his music. Sincerely, James --
Re: Music of Antoine Francisque
Hello to all, I have recorded some music from Francisque's "Le Tresor D'Orphee" in the last year, and would like to offer it for you to listen to, and get some feedback about his music (and my playing of it). I don't know of any recordings of his music, (although there must be some out there); so I was definitely "flying blind" so to speak, when deciding on tempos and interpretations, etc. If I may beg further forgiveness; the recording was done at my home in a three day span, and there was no editing or processing. Also, I forgot to wear my period costume. :) I used nylgut strings and cut off all my right hand nails; quite a sacrifice for a guitarist! I believe gut strings would've sounded better, even with nails. Anyway, thought this might be of some interest. The MP3's are at: http://www.jamesedwardsguitar.com/cd_morphues.html. There are a couple of typo's, I'll fix those soon. Sincerely, James Edwards --
Re: Honsok
In a message dated 4/13/2004 4:12:35 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: Dear list, I am forwarding this question, but I am quite curious myself: what does the "Honsok" mean? This is one the duets in the Folger Dowland MS. Thanks in advance for your science, Alain Hi Alain, I think it's a variant spelling for "The Hunts Up" tune; just a guess. Sincerely, James Edwards --
Re: passionate gut
In a message dated 4/12/2004 8:01:31 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: I definitely favor the sound of gut over synthetics on instruments intended for gut. To play devil's advocate for just a moment, however, there are some notables who sing Nylgut's praises. Paul O'Dette favors gut in the studio or when performing in stable climes, but tours with Nylgut and loudly celebrates the virtue of its pitch not responding to humidity. I tend to favor Nylgut over stock nylon, but again, I favor the sound of gut over either. I agree, gut is the best sound overall; but depending on who made the instrument and who is playing it, nylgut can sound quite good. I think the better the quality of the instrument, the better it can sound with nylon, nylgut, carbon, etc. Sincerely, James --
Re: Tuning redux
Hi to all, There's been a lot of mail lately about tuning, I thought this link might be of interest: http://www.well.com/user/smalin/equal5th.htm Sincerely, James Edwards --
Re: (Was: Vihuela) follow up question
In a message dated 12/15/2003 4:39:38 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Do modern people have a preference for numbers as opposed to letters? And as a follow-up question, do lutenists have an old fashioned mindset for prefering French tab, or is it just dandy, and a little mystical to be able to read French tab? (Personally, I consider them both almost equally easy to flow from the paper to the fingers, whereas i still find Italian tab more awkward due to the mirror effect, but that must surely only be a question of practice, (although I've played Italian since the mid 80's). Good question! I think Milan's system (basically French tab, but with numbers instead of letters) is the easiest to read. When writing out pieces for myself, this (or modern notation) is what I use. I find sight reading French tab difficult in the upper registers, especially on the 2nd thru 6th courses; all those j's, k's, l's, m's and n's, etc. start to become a jumble. Numbers, however, can also get a bit messy in the higher registers. I know this subject was discussed a lot recently, but I would vote for modern notation as the lesser of evils for writing out renaissance lute solos. In other words, written out on one staff, like guitar music, but using g' as a relative pitch standard for the first string instead of e'. I realize that won't help guitarists tremendously. :) Sincerely, James --
Re: Lute questions # 1& 2
Hi Michael, Jim, Bob, Kenneth, Vance, etc. Many thanks to you (and everyone who responded) for your informative answers to the top two lute questions! Now I'll be able to sound knowledgeable about engineering and acoustics at my next concert. :) There are other questions often asked of course ( like, what is it?), but those two were the ones I have the most trouble with. Sincerely, James --
Re: # 2 lute question
Hello all, Stop me if this is too idiotic. :) The second most asked question is: "How does the carved rosette affect the tone"? I think they think there may be a purpose for it beyond its obvious ornamental effect. People are simply drawn to notice the differences between the lute and guitar; but they all find the lute very beautiful. They're just intrigued. Maybe there's no definitive answers to these questions, but the 'rosette' one is interesting. Anyone ever play a lute with just a sound hole, no rosette? Sincerely, James --
Re: # 1 lute question
In a message dated 12/9/2003 4:48:59 PM Pacific Standard Time, [EMAIL PROTECTED] writes: Hi James: I view it as an issue of balance. The peg box loaded is probably the single most weighty portion of the Lute. Bent back as it is helps to distribute the weight more toward the center of the instrument. Hi Vance, Thanks, yours is the only serious reply so far; but I do think "So it will fit in the case" is kinda cute. We might think it a silly (not stupid, as Bruno suggests) question, but if anyone expresses any curiosity about the lute, I think it's good p.r. to try to be polite and/or funny when replying. If you give a sarcastic answer, then you can guarantee that's what they will retain. Perhaps some luthiers have some ideas? Sincerely, James --
Re: # 1 lute question
Hi to all, Whenever I perform on the lute the number one question from the audience is, "Why is the head/pegbox bent at such a sharp angle"? I'm guessing it's an engineering solution to the torque of all the strings on a very lightly built instrument, but I wish I could give a definitive answer. Fred Noad's answer was that it helps keep you from jabbing the person to your left. :) Anyway, humorous answers are welcome, but if anybody knows for sure... Sincerely, James Edwards --
Re: Facsimeles etc.
To all, Am I the only one who finds the name calling, and tone of some of these e-mail exchanges offensive? It's great to be passionate and have strong feelings about a subject, but how about a modicum of civility? I know, "if you don't like it, don't read it"; but the subject matter is interesting, so, I read. Sincerely, James --
Re: ivory in lutes, etc.
Hi to all, Thanks for the interesting and informative responses to my questions about ivory; especially Kenneth Be and David Van Edwards'. Howard, I do like your sense of humor; but surely you must know indoor elephants are illegal in Calif.; we have to keep them in the backyard. They really come in handy when the road washes out. :) Sorry about the rhinocerous slip up, I was getting too carried away with my melodrama. Yes Vance, I know what mammoth ivory is supposed to be, but the ivory trade is a rather shady business at best, so I'm just voicing some skepticism about certain sources. The ironic thing is, you don't have to kill these animals to get the ivory; elephant handlers routinely trim the tusks, with no harm to the elephant, it grows back Same thing with rhinocerous horn, it can be trimmed and then grows back. Baroque guitars were made using tortoise shell, should we look into that? :) Sincerely, James --
Re: ivory in lutes
Hi Ed, How wonderful! Dan Larson has a tusk of what? Mammoth, elephant, walrus, rhinocerous, or other; and where did he get it from? I'm sure he acquired it legally somehow, but don't you want to know? It's odd to me that we can be so concerned about the details of "historical correctness" regarding the lute and its music, and yet have a cavalier attitude about a contemporary and controversial issue that involves the lives of other (non-lute playing) mammals currently sharing the planet with us. I suppose this subject is bordering on the off-topic category, so I won't write about it again. Sincerely, James --
Re: ivory in lutes
Hi Howard, Of course, but let me rephrase the question for you: How does one obtain mammoth ivory, and how can you determine if that's really what you're getting? Maybe you just go to your local prehistoric gift shop. :) Sincerely, James --
Re: ivory in lutes
Hi Ed, I'm a lutenist/guitarist living in Cambria, California. My wife has worked with elephants for years, so I asked her about the culling of herds and legal status of ivory, etc. She says they tried to legalize it to discourage the poachers, but that it hadn't seemed to stop the poaching; and it was still hard to ascertain if any ivory you were getting was really legal or not. At the moment there is no legal ivory trade. Culling the herds is a polite way to describe murder (no, I'm not one of those PETA people); the elephants are shot indiscriminately, usually from a helicopter, when the herd starts to encroach and endanger villages, or to 'thin' the herd. My wife worked with two elephants whose parents were killed in a culling. So anyway, this 'culling' is not some benign process. Fortunately, judging from the replies to your questions, ivory doesn't seem to be a very desirable tone material. What is mammoth ivory? I talked to a scrimshaw artist once who said it came from fisherman's nets? For those luthiers or players thinking about using ivory, I would suggest typing in ivory trade on your internet search engine; you'll find links to the CITES organization, and other news updates about what's going on in the African and Asian ivory business. Sincerely, James Edwards --
Re: how to convert guitarist?/orpharion anyone?
Hi Vance, Jim, and all, =A0 I'm not doubting you at all Vance, about what Bream said!=A0 I was serio= us in=20 suggesting that he may have used fake nails for the guitar, and then removed= =20 them at intermission in order to play the lute without nails.=A0 In a book=20 called "A Life On the Road," published in 1982, he talks of experimenting wi= th=20 artificial nails at one point.=A0 I'm sure (as you recalled also) that he di= d not=20 rest his little finger on the soundboard (I saw him 'live' several times as=20 well); in the same book he says people complain that "he plays guitar like a= lute,=20 and the lute like a guitar".=A0 Whatever that means. :)=A0 I had all his lut= e=20 recordings from the 60's and 70's, and there is a distinctive nail sound.= =A0 As an=20 aside: Julian is such a great artist that I wouldn't care if he was playing=20 ukulele with a flat pick, or electric guitar with fingertips; I don't care i= f he=20 uses nails or not; he is a unique phenomenon.=A0 I did hear a recording from= =20 around 1980 where an artist (can't remember the name) played guitar music on= one=20 side of the record, with nails, and lute music on the other half, without=20 nails.=A0 As someone suggested recently, if you trim your nails on the right= side,=20 but leave some nail on the left side for guitar, perhaps you could have both= =20 options available, depending on the instrument you were playing at the time.= =A0=20 I'd like to know if anyone else has tried this successfully. If Bream had so= me=20 other technique, it would be great to know it; because one of the things my=20 guitar students worry about with the lute is that they'll have to cut their=20 nails. Truth is, most of them would sound better on guitar without nails. :) =A0 Regarding orpharion, I've never heard one in person.=A0 There is a quote= in=20 Barley's publication of 1596, which I think is interesting for lute players,= =20 but also pertains to Jim's comment about using nails with bandora and orphar= ion,=20 and Vance's comment about the instrument 'rattling': "Because of the wire=20 strings, the Orpharion doth necessarily require a more gentle and drawing st= roke=20 than the Lute, I mean the fingers of the right hand must be easily drawn ove= r=20 the strings, and not suddenly gripped, or sharply stroken as the lute is; fo= r=20 if ye should do so, then the wire strings would clash or jar together one=20 against the other; which would be a cause that the sound would be harsh and=20 unpleasant".=A0 So, maybe with nails a more "gentle and drawing stroke" is p= ossible,=20 than with fingertips.=A0 The harpists of the 17th century used nails on thei= r=20 wire strung harps, so I've read.=A0 Sorry to digress further; but what inter= ests me=20 about Barley's instruction is I don't hear modern lutenists doing any 'sudde= n=20 gripping' or 'sharp stroking' (with the exception of Ronn McFarlane, who use= s=20 a wide variety of tonal colours in his interpretations) of the strings.=A0 B= ut=20 I must admit I haven't heard a lot of live lute performances lately, so mayb= e=20 everyone's "gripping and striking" now.=A0 Most likely Barley's observations= =20 simply relate to how sensitive the orpharion is. Sincerely,=20 James Edwards p.s. I'm grateful for all the interesting information people are sharing=20 here.=A0 I have no 'agenda' with this listing, I've never participated in in= any=20 e-mail group before, so if I cross any lines of etiquette please let me know= ; I=20 can be trained. :)=A0=20 --
Re: lute vs.guitar/how to convert guitarist?/orpharion anyone?
Hi Vance, Thanks for your reply, you make some good points. I agree French tablature is easy to read once you get used to it, and the bowl of the lute body is no doubt essential to producing the wonderful, unique sound of the lute. I prefer baroque guitars with vaulted-backs for that reason also. You're right, nails can definitely be as problem. Fortunately the guitar sounds better with short nails, I think, so maybe there's a somewhat happy medium for those who want to play lute and guitar. Putting the right hand little finger on the soundboard can help the guitarist keep the nail away from the string. There is a precedent for a flat-backed instrument, contemporary with the lute, in late 16th and early 17th cent. England, however. The orpharion was quite popular and could play any of the lute repertoire, as it was tuned the same. William Barley and Thomas Robinson both published books in which the orpharion was given equal billing with the lute. Not only did it have a flat back, but had wire strings and metal frets. The English Lute Society publishes a booklet written by Donald Gill that talks in detail about the orpharion and bandora (another wire strung, flat back). Stephen Barber and Lyn Elder are two luthiers who offer this instrument in their catalogues: www.lutesandguitars.co.uk/htm/cat05.htm and lynelder.com/wire.html. Paul O'Dette plays a couple of pieces on one on his complete works CD of Dowland. I think it sounds pretty cool; anybody out there play one of these things? I heard Bream play in the 70's also, and his lute sounded quite 'naily'. Maybe when you saw him was using fake nails for the guitar and took them off during intermission? Or maybe he's part cat and has retractable claws. :) Sincerely, James Edwards --
Re: lute vs.guitar / how to convert the guitarist?
Hi Jon, Thanks for your comments and ideas, your musical background is very interesting. I love all kinds of folk music also. Two things you mentioned are definitely part of the issue for my classical guitar students: the commitment in time and money. They already feel they don't have enough time for guitar, and the lute looks like something strange and difficult that will take even more time. Although most of them have money for fine guitars, the thought of shelling out $1,500 to $3,000 for a decent lute that they're not sure they'll even be able to play, well... I would like to hear about your lute kit, maybe that's one answer: it's inexpensive, and the flat-back is less scary (even the round bowl worries a guitarist). It might be like learning to ride a bike with training wheels, when you're ready and feel confident enough, you take 'em off. So, maybe it's not a lute, but might serve as a transitional instrument. If I get a beginning classical guitar student who doesn't have an instrument, I can send him to any music store, and he'll be able to find something used, but usable, for $300 or less. This question of how to get a guitarist to try lute is interesting to me because many amateur guitarists really like renaissance and baroque music and play it on their guitars. I just think they would enjoy it even more on a lute. Here's a list of what they imagine will problems: 1. The double-strings - it must be harder to play because of that 2. The tuning - They'll have to relearn all the notes 3. The round back - too slippery and awkward 4. Tablature - too weird 5. Can you play it with nails? 6. Frets - they're tied on, you're kidding? I could make that list longer, but you get the idea. As lutenists, you know most of these things are not a problem at all; although there does seem to be a concern of how to hold the lute. :) However, I did sell a lute to guitarist recently who just picked it up, stuck it on his right leg, rested his right arm on it and said "great, feels good, no problem." A good attitude never hurts! Basically, I think the problem is a fear of the unknown, the lute looks strange to a guitarist (very beautiful, but strange), and they haven't had the chance to just spend some time handling one and getting familiar with it. One other problem is who's going to be their teacher? A very thorough instructional video might be helpful; I'm surprised no one's done that. Ronn McFarlane's video is great, but not, strictly speaking, a 'tutor'. Thanks for the interesting responses so far, James Edwards p.s. Wasn't "Wildwood Flower" the melody Guthrie used for "Rueben James"? --
Re: lute vs.guitar / how to convert the guitarist?
Hi Tim, Comparing the two sounds like fun. Since I play both, I'll give some brief impressions. Lute music sounds well on guitar, and is worth playing that way if you don't have a lute. Many of my guitar students love renaissance and baroque music, but seem to be intimidated by the lute somehow. Those extra strings, and the tablature, put them off, unfortunately. I keep trying to convert them though. :) To me, the music is much better played on the lute. The lute's sound is light, transparent in texture and immediately transforms the simplest piece into a thing of beauty. The guitar has a denser, heavier tone and just doesn't serve the music as well. But still, I'd rather hear someone play renaissance music on the guitar with great musicality, than on the lute with poor musicianship. If any one has ideas about how to convert reluctant guitarists to the lute; I'm open to suggestions! Sincerely, James Edwards --
Re: MO's attacks
Hello all, I find this discussion very interesting, so I thought I'd throw in my two cents worth. I'm a professional musician and private teacher of guitar and lute. In a sense the real issue is a moral one, because I don't think anyone is really making much money playing lute, or selling lute books (or guitar, for that matter!) I could be wrong. I sympathize with Ariel's ideas, (I've photocopied a lot over years, unfortunately) but I tend to agree more with Mantanya's. To follow Ariel's logic, if someone calls him to play for a gig, saying they're poor and need him to play for a very reduced fee; should he do it? It's not his music, it belongs to the world, right? If I want to buy a Cezar Mateus lute that sells for 5,000 dollars, but I only have 1000 dollars, should he sell it to me for that price? After all, he didn't invent the lute, or grow the trees (well, maybe he did!); what right does he have to charge me for all the hard work and study, and financial investment he's put into his business? :) I think this is one reason libraries exist, for people such as myself, and Ariel, etc. who don't have the funds to buy everything, especially expensive editions. I'm lucky to have access to a large collection of lute music at UCSB in Santa Barbara, CA. Also regarding Roman's thought about CD's; you can buy them very cheaply now and burn all the CD's you want for very little outlay. Technology always is one step ahead it seems. That's it for now, stepping into the 'fray' for the first time here is a little scary, I must say! Sincerely, James Edwards Cambria, CA [EMAIL PROTECTED] --
