[LUTE] Betsy Howard Small... Just Lovely
https://www.youtube.com/watch?v=opa9Nos-vtQ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Fuenllana "author. D."
This obviously isn't 'step by step' pedagogy as is in El Maestro by Luys de Milan, but surely is good help for students to pick better pieces to start with.. :-) Thanks Tomoko 2020å¹´1æ16æ¥(æ¨) 1:10 Jean-Marie Poirier <[1]jmpoiri...@wanadoo.fr>: F = facil (easy) and D = difficile (difficult) which clearly shows how subjective the concept of easy/ difficult could be ;-) ! Best, Jean-Marie > Le 15 janv. 2020 à 17:02, Ralf Mattes <[2]r...@mh-freiburg.de> a écrit : > >  > >> Am 15.01.2020 um 16:23 schrieb Mumin Lute <[3]lutenist.mumin.ko...@gmail.com>: >> >> Dear collective wisdom, >> This could be ridiculously silly question because of my lack of some >> very basic knowledge, but it would be very much appreciated if anyone >> could direct me to the right answer... >> In Fuenllana's Orphenica Lyra, >> what does " D " or "F" inthe heading of the piece stand for? >>It first appears on fol.17v as "Fantasia del author. .D.", capitalized >> and coloured in red. > > IIRC that indicates the difficulty of the piece. > > Cheers, RalfD > >> The following pieces apparently are fantasia by the author himself, >> the explanatory title on the top of the >>page says "Fantasia a quattro, Fuenllana." without any other >> attributions, so I guess the letter is not the initial of a composer. >> "F" is another mysterious letter on >>the heading..e.g. "Motete a quatro de Gombert. .F." on fol.50v... . I >> was inclined to think F is for Fuenllana but it obviously is not .. >> Regards, >> Tomoko >> . >> >> -- >> >> >> To get on or off this list see list information at >> [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. mailto:jmpoiri...@wanadoo.fr 2. mailto:r...@mh-freiburg.de 3. mailto:lutenist.mumin.ko...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Fuenllana "author. D."
Difficil and facil ! How instructive Fuenllana was..
Thank you so much !!
Cheers,
Tomoko
2020å¹´1æ16æ¥(æ¨) 1:05 Ralf Mattes <[1]r...@mh-freiburg.de>:
> Am 15.01.2020 um 16:23 schrieb Mumin Lute
<[2]lutenist.mumin.ko...@gmail.com>:
>
>Dear collective wisdom,
>This could be ridiculously silly question because of my lack of
some
>very basic knowledge, but it would be very much appreciated if
anyone
>could direct me to the right answer...
>In Fuenllana's Orphenica Lyra,
>what does " D " or "F" inthe heading of the piece stand
for?
> It first appears on fol.17v as "Fantasia del author. .D.",
capitalized
>and coloured in red.
IIRC that indicates the difficulty of the piece.
Cheers, RalfD
>The following pieces apparently are fantasia by the author
himself,
>the explanatory title on the top of the
> page says "Fantasia a quattro, Fuenllana." without any other
>attributions, so I guess the letter is not the initial of a
composer.
>"F" is another mysterious letter on
> the heading..e.g. "Motete a quatro de Gombert. .F." on
fol.50v... . I
>was inclined to think F is for Fuenllana but it obviously is
not ..
>Regards,
>Tomoko
>.
>
>--
>
>
> To get on or off this list see list information at
> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:r...@mh-freiburg.de
2. mailto:lutenist.mumin.ko...@gmail.com
3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Fuenllana "author. D."
Dear collective wisdom, This could be ridiculously silly question because of my lack of some very basic knowledge, but it would be very much appreciated if anyone could direct me to the right answer... In Fuenllana's Orphenica Lyra, what does " D " or "F" in the heading of the piece stand for? It first appears on fol.17v as "Fantasia del author. .D.", capitalized and coloured in red. The following pieces apparently are fantasia by the author himself, the explanatory title on the top of the page says "Fantasia a quattro, Fuenllana." without any other attributions, so I guess the letter is not the initial of a composer. "F" is another mysterious letter on the heading..e.g. "Motete a quatro de Gombert. .F." on fol.50v... . I was inclined to think F is for Fuenllana but it obviously is not .. Regards, Tomoko . -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] fonts and replies
Hi Martyn The lute list converts all text to plain text. No fonts, no font sizes, no colors, and some non-North-American letters get garbled. This is done while removing any possible viruses from the message. It is also because in the past HTML formatted messages confused many people. If you want to keep your message clear I recommend that firstly you delete any text that isn’t relevant. This is important as otherwise a person can get confused reading the message with replies. Many people are too lazy to clean up their messages. Secondly I recommend that you separate thoughts and paragraphs with a blank line. The blank lines between paragraphs will stay with most mail readers. When you reply to a message, that message has been formatted by the list robot, by the original senders email program, and by your program. As your conversation goes back and forth these three processes interact in strange ways and add more and more layers to the message. So it really helps if you take the time to clean up the formatting and delete unnecessary text each time you reply. I know this interferes with the feeling of being in the moment which is so important to computer gamers, but it makes the results a lot more readable. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] no attachments on the lute list
A brief translation of the previous message . . . Hi Sarge - this list does not accept attachments. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Arcadelt
Hi Sarge - this list does not accept attachments.WayneBegin forwarded message:From: "Frank A. Gerbode, M.D." mailto:sa...@gerbode.net; class="">sa...@gerbode.netSubject: [LUTE] Re: ArcadeltDate: November 6, 2019 at 1:54:35 PM ESTTo: ! mailto:lute@cs.dartmouth.edu; class="">lute@cs.dartmouth.eduHmmm. Looks like the attachments didn't go through. Does this list not accept attachments?In any case, the files will be accessible for a short time at http://gerbode.net/ftp; class="">http://gerbode.net/ftp--SargeOn 11/6/2019 10:44, Frank A. Gerbode, M.D. wrote:--D41830CF615DFBC1BEDBF55AContent-Type: text/plain; charset=utf-8; format=flowedContent-Transfer-Encoding: 8bitHere is a literal intabulation I made of the 3-part chanson, transposeda fourth down. It/is/ a bit thin, but could be beefed up a bit and a fewornaments or divisions added.--! SargeOn 11/6/2019 06:53, Rainer wrote:Should be "nous voyons que les hommes".According to Brown there are two intabulations for guitar - a bit thinfor the lute.RainerAm 05.11.2019 um 23:42 schrieb mailto:theoj89...@new-old-mail.cs.dartmouth.edu; class="">theoj89...@new-old-mail.cs.dartmouth.edu:ÃÃÃ Lutetopia:ÃÃÃ Does anyone know if there is an in tabulation of the ArcadeltchansonÃÃÃ "nous voyons ques les hommes"? (It is a charming little tune).ThanksÃÃÃ trjÃÃÃ --To get on or off this list see list information athttp://www.cs.dartmouth.edu/~wbc/lute-admin/index.html; class="! ">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html--Frank A. Gerbode, M.D. (mailto:sa...@gerbode.net; class="">sa...@gerbode.net)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: http://www.gerbode.net; class="">http://www.gerbode.net"The map may not be the territory, but it's all we've got."--D41830CF615DFBC1BEDBF55AContent-Type: text/html; charset=utf-8Content-Transfer-Encoding: 8bithtml head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /head body text="#00" bgcolor="#FF"! ; Here is a literal intabulation I made of the 3-part chanson, transposed a fourth down. Iti is/i a bit thin, but could be beefed up a bit and a few ornaments or divisions added.br br --Sargebr br div class="moz-cite-prefix"On 11/6/2019 06:53, Rainer wrote:br /div blockquote type="cite" cite="mid:mailto:10-08115d63-65e6-e915-81f9-1df237555...@t-online.de; class="">10-08115d63-65e6-e915-81f9-1df237555...@t-online.de"Should be "nous voyons que les hommes". br ! sp;br According to Brown there are two intabulations for guitar - a bit thin for the lute. br br Rainer br br Am 05.11.2019 um 23:42 schrieb a class="moz-txt-link-abbreviated" href="mailto:theoj89...@new-old-mail.cs.dartmouth.edu; class="">mailto:theoj89...@new-old-mail.cs.dartmouth.edu"mailto:theoj89...@new-old-mail.cs.dartmouth.edu; class="">theoj89...@new-old-mail.cs.dartmouth.edu/a: ! bsp;br blockquote type="cite"ÃÃÃ Lutetopia: br ÃÃÃ Does anyone know if there is an in tabulation of the Arcadelt chanson br ÃÃÃ "nous voyons ques les hommes"? (It is a charming little tune). Thanks br ÃÃÃ trj br ! sp;br ! bsp;ÃÃÃ -- br br br To get on or off this list see list information at br a class="moz-txt-link-freetext" href="http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html; class="">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html; class="">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html/a br br ! p;/blockquote br br br /blockquote br pre class="moz-signature" cols="72"--Frank A. Gerbode, M.D. (a class="moz-txt-link-abbreviated" href="mailto:sa...@gerbode.net; class="">mailto:sa...@gerbode.net"mailto:sa...@gerbode.net; class="">sa...@gerbode.net/a)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: a class="moz-txt-link-freetext" href="http://www.gerbode.net; class="">http://www.gerbode.net"http://www.gerbode.net; class="">http://www.gerbode.net/a"The map may not be the territory, but it's all we've got."! ;/pre /body/html--D41830CF615DFBC1BEDBF55A-- Frank A. Gerbode, M.D. (mailto:sa...@gerbode.net; class="">sa...@gerbode.net)11132 Dell AveForestville, CA 95436-9491Home phone: 707-820-1759Website: http://www.gerbode.net; class="">http://www.gerbode.net"The map may not be the territory, but it's all we've got." --
[LUTE] stolen theorbo
A Matthew Durvie theorbo was stolen from Dr. Gregory Hamilton oct. 8th in Irving Texas. you can contact him at 8325450900 Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Lord my careful Shepherd is
> > I lack Rainer’s gift for detail, but I am intrigued at the thought that a > collection of music from around 1600 may still have been in use 80 or 90 > years later, or that someone 80 or 90 years later was in desperate need of > scratch paper to write down Psalm 23. > Back then all paper was as expensive and as durable as artist’s hand made watercolor paper is today. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)
Sounds the same ... Could be said of any music genre that somebody is not familiar with or doesn't appreciate. I have friends in a wonderful old-time fiddle/bluegrass group from Minneapolis/St. Paul, MN called "The Buffalo Gals". In one of their numbers they start playing "Skip To My Lou", while singing, "All these fiddle tunes sound the same, All these fiddle tunes sound the same, All these fiddle tunes sound the same, Same, same, same ... " Tom On 15 Jul 2019 at 16:35, howard posner wrote: > > On Jul 15, 2019, at 8:44 AM, theoj89...@new-old-mail.cs.dartmouth.edu wrote: > > > > I would posit that the father has a much higher probability > > of being more accurate, in that 'all pop music sounds the same', or > > certainly -much- pop music sounds the same, no? > > I couldn´t tell you. First, you haven´t defined "pop music" by either genre > or time; second, whatever the definition is, I haven´t listened to enough of > it to form a judgment; and third, if I listened to enough of it to form a > judgment, I would be an aficionado attuned to its differences, and would > therefore not think it all sounded the ame. > > BTW, if your point is that there's a lot formula and fill-in-the-blanks in > pop music, the same is true of, say, Mozart´ symphonies (Mozart scholars talk > about "filler passages" that are interchangeable from one to another) and > Handel´s operas. It doesn´t they aren´t good. > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Julian Bream on Lute
the 1991 LSA quarterly issue 2 has an interview with Julian Bream, where he exposes all his secrets! Wayne > Begin forwarded message: > > From: "Franz Mechsner" > Subject: [LUTE] Re: Julian Bream on Lute > Date: June 18, 2019 at 7:13:58 PM EDT > To: "Dan Winheld" > Cc: lute@cs.dartmouth.edu > > Dear Dan, > > Julian Bream actually pioneered lute playing very early. Watch > this beautiful movie on him that makes me smile (lute things come > somewhere in the > middle): [1]https://www.youtube.com/watch?v=MUdunh_wMCI > > Warm regards and best > Franz > > Dr. Franz Mechsner > Zum Kirschberg 40 > D-14806 Belzig OT Borne > +49(0)33841 441362 > franz.mechs...@gmx.de > > > Gesendet: Mittwoch, 19. Juni 2019 um 01:07 Uhr > Von: "Dan Winheld" > An: "Franz Mechsner" , lute@cs.dartmouth.edu > Betreff: Re: [LUTE] Julian Bream on Lute > Nope. Never heard of him. > On 6/18/2019 3:49 PM, Franz Mechsner wrote: >> Dear collective wisdom, >> >> I just heard some pieces played by admired guitarist Julian Bram on > the >> lute. It seems to me he played kind of classical guitar style on the >> lute. Strange, but It sounds wonderful to me, not only bold for the >> time. Does anyone understand how he played the (maybe special) lute > and >> produced the wonderful sound on a lute admittedly built for him? >> >> Best and curious >> Franz >> >> Dr. Franz Mechsner >> Zum Kirschberg 40 >> D-14806 Belzig OT Borne >> +49(0)33841 441362 >> franz.mechs...@gmx.de >> >> >> To get on or off this list see list information at >> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > References > > 1. https://www.youtube.com/watch?v=MUdunh_wMCI > 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] TAB for windows 64 bit
I have a 32 bit version of the tab executable at https://home.cs.dartmouth.edu/~wbc/wtab/ <https://home.cs.dartmouth.edu/~wbc/wtab/> as well as a 64 bit version. Just in case you worry about pointer to int conversion. Wayne > Begin forwarded message: > > From: Rainer > Subject: [LUTE] Re: TAB for windows 64 bit > Date: April 14, 2019 at 3:07:44 AM EDT > To: lute net > > I create a new 32-bit executable for Windows from time to time - from an new > source version released by Wayne. > Anybody who wants to receive these new versions please let me know. > > I also have a manual based on Leonard's manual. > > > I don't think creating a 64 bit version makes sense. Nobody needs to create > tab files with several Giga bytes :) > > Rainer > > On 09.04.2019 12:48, Wayne wrote: >> Hi lute people - >> I have compiled a windows 64 version of my tab program, and put it at >> https://home.cs.dartmouth.edu/~wbc/wtab/ >> This is a very ârawâ distribution and is only for people who are very >> comfortable >> with command prompt and already are familiar with using my tab program. >> There >> are some tips at >> https://www.cs.dartmouth.edu/~wbc/lute/tab-with-vs.html >> but I wonât be able to give people a lot of help. >>Wayne >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Tip - Lute Scribe character / font question
Hi Lute People and Jurgen - Looks like you donât know that the lute list does not like pictures, which in this case is a shame. Perhaps you could post them on a web site or google documents. They show characters, especially the letter e, in lute-scribe input format and as output by my âtabâ programt. Jurgen says . . . Hello there, I am asking about the "e" in lute scribe - in the editor the character appears as a "normal" minuscule e whereas in print the character has changed to a tilted small capital "E" as documented in the attached screenshots - actually I very much like that capital E but I cannot find it in the font. How does this miracle happen? Thanks for a hint, Jurgen you can email Jurgen at eye-and-ear-cont...@protonmail.com <mailto:eye-and-ear-cont...@protonmail.com> and you can read about my tab program at https://www.cs.dartmouth.edu/~wbc/lute/AboutTab.html Wayne > Begin forwarded message: > > From: Jurgen Frenz > Subject: [LUTE] Lute Scribe character / font question > Date: March 4, 2019 at 9:14:51 PM EST > To: Lute List > Reply-To: Jurgen Frenz > > ogÑÑ Ñ7uЧoMÐoVкÑmÐпо_зÐÐзpÐÂзÐÐ<ÐzзÐÐÑej)м > ÐÑz > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: tab program
you would type
{ Bourr\'ee }
with the warning that some modern text editing programs change the characters
around. the single quote, for example, may be rewritten as a special character
which is half of a pair of balanced quotes. Mac TextEdit does this, and you
have to turn off smart editing. I use a programmers editor like vim or emacs
that doesnât make the switch.
Wayne
> Begin forwarded message:
>
> From: Alain Veylit
> Subject: [LUTE] Re: tab program
> Date: July 26, 2018 at 2:40:11 PM EDT
> To: lute@cs.dartmouth.edu
>
> A quick question about Wayne's tab program: how do I get the French accents
> (e acute, e grave) to display correctly in the titles? I am getting slashed
> Os instead of 'é' (e acute) for example, and a slashed L for 'è'. The c
> cedilla however is fine, and u umlaut ...
>
> Example: { Bourrée }
>
> Also: if I have two pieces in a single tab file, can I get extra vertical
> spacing between the two pieces?
>
> Alain
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
[LUTE] check your email addresses
Hello Lute List People - Occasionally I check the spam traps for the lute list and I see messages from people who are really members of the lute list. These people have one email address on the robotâs list, but send their message from another address. It could be because they moved, or got a new service, or it could be because their provider changed their address. The robot does not recognize the new address and so blocks the message. If you post something to the lute list and it doesnât get through, check to see if the address you are sending is the same as the one that messages addressed to you use. Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] London Weiss manuscript is online
If you download a whole single page you donât get the donât ge the same amazing resolution! Wayne > Begin forwarded message: > > From: Markus Lutz > Subject: [BAROQUE-LUTE] London Weiss manuscript is online > Date: June 20, 2018 at 5:48:46 AM EDT > To: Barocklautenliste > > Dear members of the baroque lute list, > Tim Crawford has written, that now the London Weiss manuscript is online. It > can be viewed and also be downloaded via the following link: > http://access.bl.uk/item/viewer/ark:/81055/vdc_100059002407.0x01 > > It seems as if only downloading single jpgs works (at least for me). > It is a very good scan, although the given resolution isn't that detailed. > But you can look online into the pages in a very high resolution! > > Best regards > Markus > > > -- > > Markus Lutz > SchulstraÃe 11 > > 88422 Bad Buchau > > Tel 0 75 82 / 92 62 89 > Fax 0 75 82 / 92 62 90 > Mail mar...@gmlutz.de > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] The article by Annette Otterstedt about David Dolata's book about tuning
You may be right, but I can always claim that my computer was hacked. Wayne > Begin forwarded message: > > From: Rainer <rads.bera_g...@t-online.de> > Subject: Re: [LUTE] The article by Annette Otterstedt about David Dolata's > book about tuning > Date: May 13, 2018 at 1:34:33 PM EDT > To: wayne lute <wst...@cs.dartmouth.edu> > > Wayne, this may be slightly illegal :) > > Rainer > > On 13.05.2018 19:26, wayne lute wrote: >> Hi Lute people - >> Martyn sent me a copy of Annette Otterstedtâs review of David Dolata's >> book about tuning and it is avilable on my web site >> http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf >> <http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf> >> Wayne >> -- >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] The article by Annette Otterstedt about David Dolata's book about tuning
Hi Lute people - Martyn sent me a copy of Annette Otterstedtâs review of David Dolata's book about tuning and it is avilable on my web site http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf <http://www.cs.dartmouth.edu/~wbc/lute/Otterstedt.pdf> Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Re : Re: Loose frets
Hi Martyn - That is a bogus address. Because anti-spam measures are really fierce these days I have to send out many messages with a fake âFrom: â address. The real address is in the âReply=To:â filed which you may not see in your mail reader without asking for all the headers. Anthonyâs real address is agno3ph...@yahoo.com <mailto:agno3ph...@yahoo.com> Wayne > Begin forwarded message: > > From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu> > Subject: [LUTE] Re: Re : Re: Loose frets > Date: March 12, 2018 at 7:17:36 AM EDT > To: Anthony Hind <agno3ph...@cs.dartmouth.edu>, John Lenti > <johnle...@hotmail.com> > Cc: Lutelist Net <lute@cs.dartmouth.edu> > Reply-To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> > > Dear Anthony, > Your email address agno3ph...@cs.dartmouth.edu bounces back (it didn't > use to)! Have you another for a personal communication? > Martyn > __ > > From: Anthony Hind <agno3ph...@cs.dartmouth.edu> > To: John Lenti <johnle...@hotmail.com> > Cc: Lutelist Net <lute@cs.dartmouth.edu> > Sent: Monday, 12 March 2018, 10:15 > Subject: [LUTE] Re : Re: Loose frets > A very good tip, John, as is the idea of pre-wetting the fret > material. > I wish I had thought of that these last few years, suffering from > severely slipping frets in similar changing conditions. However, as I > had resorted to a nylgut chanterelle, which quickly frays gut frets, > I > decided to try Mimmo's new synthetic fret material. This has only > been > on my lute for a few weeks, so I can't report on durability; however, > I > can say that, as expected, this material is not effected by humidity, > but also less expectedly, it seems slightly softer than modern gut > (therefore, presumably not from Nylgut, as has been suggested). This > would have the advantage of not damaging gut strings, as reportedly > nylgut frets would do; but the possible disadvantage of making > stopped > strings sound very slightly softer (but less so, I would judge, than > the much softer sounding double gut frets, with which I do have > experience, and appreciated for their greater durability). In spite > of > their slippery surface, with the knot advised for them by Mimmo, they > do seem to slip far less than gut frets. > Regards > Anthony > [1]Sent from Yahoo Mail for iPhone > Le lundi, mars 12, 2018, 8:13 AM, John Lenti > <[1]johnle...@hotmail.com> a > à ©crit : > I'm a little reluctant to share something that might seem almost > immoral, but what the hell, I make my living playing the lute and I > tie > a lot of frets, so I'll chip in here: when I go, as I do almost > weekly, > from my home in Seattle, where the weather is always perfect for > gut-strung-and-fretted instruments, to a place like the mountains > of > Montana or the desert of Tucson and the humidity is 1% and my frets > (usually it's 1, 5, and 6 on my main touring instrument) start > slipping > and sliding around, and I don't feel like re-fretting, I tape them > down > with masking tape. > Sent from [1]Mail for Windows 10 > > __ > From: [2][2]lute-...@cs.dartmouth.edu > <[3][3]lute-...@cs.dartmouth.edu> on > behalf > of howard posner <[4][4]howardpos...@ca.rr.com> > Sent: Friday, March 9, 2018 9:01:32 AM > To: [5][5]lute@cs.dartmouth.edu > Subject: [LUTE] Re: Loose frets >> On Mar 9, 2018, at 8:12 AM, John Mardinly > <[6][6]john.mardi...@asu.edu> > wrote: >> >> My frets never come loose and they have not worn out yet. They > are >> metal. > I want to know how you tied them on in the first place. You must > have > really strong fingers. > To get on or off this list see list information at > > [2][7][7]https://nam01.safelinks.protection.outlook.com/?url=http:%2F%2 > Fww > w.c > > s.dartmouth.edu%2F~wbc%2Flute-admin%2Findex.html=02%7C01%7C%7Cb2e0 > > 482fe1c54b991ec608d585df2c7f%7C84df9e7fe9f640afb435%7C1%7C0 > > %7C636562115923455431=IZZ6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA > %3D=0 > -- > References > 1. [8][8]https://go.microsoft.com/fwlink/?LinkId=550986 > 2. > > [9][9]https://nam01.safelinks.protection.outlook.com/?url=http://www.cs > .da > > rtmouth.edu/~wbc/lute-admin/index.html=02|01||b2e04
[LUTE] Re: Nursing Home Music
It is challenging, to say the least, to work or do any volunteer work
in hospices and nursing homes. But I think doing so is a very
generous and kind thing to do. I am glad to hear that you, George,
and others are doing it. None of us can know what impact it might
have on someone staying there. Might be none, might be some. But,
as George pointed out, it is a great way for a performer to have a live
audience and to work on their performing skills in front of an audience
that won't be critical. So there is benefit both ways, I guess.
And, you just never know when you might have someone in the audience
who has a grandson or a granddaughter who might have some interest in
the lute and your playing there just happened to have coincided with
grandson/granddaughter's visit to their relative and the younger person
asks you about the lute. Or their grandparent tells them about your
having come and played and they show interest. Is this a long shot?
Yes. But it can happen. We just never know when our playing will
touch someone and bring someone new to the lute.
So, for all you who are playing in hospitals, nursing homes, hospices,
etc. I say "you are doing a noble and kind thing" and you may just
bring someone new to the lute. Good on you for doing this.
Michael M. Grant, PhD, MBA
President/Chairman of the Board
Director, Lute Rental Program
[uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download]
[1]www.lutesocietyofamerica.org
On Thu, Jan 4, 2018 at 11:40 PM, George Arndt
<[2]george.ar...@hotmail.com> wrote:
Hello Nancy and Dan:
We have been playing nursing homes for the past 5 years. One to
four a
month depending on the season. We play celtic, old jazz, old rock
tunes, and lots of classical stuff. My friend plays his 12-string
guitar and I play lutes, recorders, banjos, and the ancillary
stuff.
We have played hospitals, pizza places, seldom bars, and most of
the
local festivals. A key step to follow is making sure we
schedule a
return visit before we depart. Calling ahead the day before we
come
back to play again has proven helpful too. There is no money in
this as
everybody knows. We have fun and sometimes think of it as
"practice" in
front of a live audience. There are some truly sad cases to be
sure.
Many people just want to talk and we strive to exit in less than
90
minutes after arrival. On occasion I have knocked on open doors
and
asked people in bed if I can "give them a tune". This is the
situation
where I have found the lute works best. When folks who have never
seen
a lute ask: "why is it bent?" I tell them: "so I can run through
doors
faster" and that usually brings a smile. Music and prayer are
the last
things the failing mind holds on to and anybody who plays nursing
homes
can readily make this connection with the audience. Lastly it
really
is true there are geriatric groupies out there, we can still
out-walk
them.
I have seen Stephen Wade perform, still have the 50 cent BIC pen,
and
few people are in his class. I agree that two or more musicians
might
put on an entertaining show if they insert simple humor with any
kind
of music. Especially with the hits of the 1600's.
See you in Cleveland.
Thanks,
George
____
__
From: [3]lute-...@cs.dartmouth.edu <[4]lute-...@cs.dartmouth.edu>
on behalf
of Daniel Shoskes <[5]kidneykut...@gmail.com>
Sent: Thursday, January 4, 2018 6:31 PM
To: Nancy Carlin
Cc: Lute List
Subject: [LUTE] Re: Early Music life
My hospital has an ongoing medicine and the arts program. Three
rotating venues: entrance hall in one of the smaller buildings,
an
enclosed rooftop lounge and the post-surgery family waiting area.
Mostly "modern" classical with occasional jazz, mostly students
from
the Cleveland Institute of Music. I've played 3 times over the
years.
Once I played vihuela while gowned up for someone in reverse
isolation.
It's all typically well received but obviously it's more in the
genre
of background music to help relax people who are stressed out
rather
than hard core rep that requires intense concentration. Also, 2
of the
3 locations are worthless for the lute without amplification.
Don't know if this turns anyone on to a lifetime of music concert
going
but it's making art and it's appreciated.
> On
[LUTE] Re: Bad lute music
John meant to say . . . Beethovenâs deafness was caused by âinner earâ problems, sometimes called labyrinthitis, a form of nerve deafness, not mechanical problems, such as damage to the eardrum or the small bones of the inner ear. As such, it is unlikely that the bone conduction would have been any use to him. A. John Mardinly, Ph.D., P.E. > Begin forwarded message: > > From: John Mardinly <john.mardi...@asu.edu> > Subject: [LUTE] Re: Bad lute music > Date: November 11, 2017 at 12:17:52 PM EST > To: howard posner <howardpos...@ca.rr.com> > Cc: Lutelist <lute@cs.dartmouth.edu> > > гM4Ñ6м>;Ñ>Ñпa|а;ÑNÐпNÑÐкÐÑÂÐ*'ÐÑÑO*^ÐÑmÑÂZÂw!jÐ > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: In search of a strap pin
I buy them for rental lutes from David Fitzpatrick.
[1]https://davidefitzpatrick.com/
Michael M. Grant, PhD, MBA
President/Chairman of the Board
Director, Lute Rental Program
[uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download]
[2]www.lutesocietyofamerica.org
On Sun, Oct 8, 2017 at 3:52 PM, Lynda Kraar
<[3]guitargirl4scrab...@cs.dartmouth.edu> wrote:
My lute strap pin fell out and has gone AWOL. Any suggestions for
a
replacement? I'd be willing to purchase one from anyone who has
one
that might work - the hole is 7.8 mm.
Thanks,
Lynda Kraar
--
To get on or off this list see list information at
[4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. https://davidefitzpatrick.com/
2. http://www.lutesocietyofamerica.org/
3. mailto:guitargirl4scrab...@cs.dartmouth.edu
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: "Sting Effect" (was Direwolf Hall)
no effect noticed. Perhaps that is because Sting did neither Dowland nor the lute any service? Not an "artist" I would have chosen to sing Dowland...or anything else for that matter. On Thu, Sep 7, 2017 at 5:04 PM Edward Martin <[1]edvihuel...@gmail.com> wrote: Actually, I cannot recall that I have seen a raising profile since the "Sting Effect". ed On Thu, Sep 7, 2017 at 3:55 PM, howard posner <[1][2]howardpos...@ca.rr.com> wrote: > On Sep 7, 2017, at 1:40 PM, John Mardinly <[2][3]john.mardi...@asu.edu> wrote: > > So is there any chance that this will result in archlute themed backpacks, pencil cases, blankets, pillows or other Disney themed merchandise? It's been 11 years (!) since Sting tackled (as it were) Dowland in Songs from the Labyrinth.Some of us were speculating about a potential "Sting effect" raising the lute's profile in the world. Did anyone notice one? To get on or off this list see list information at [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[5]howardpos...@ca.rr.com 2. mailto:[6]john.mardi...@asu.edu 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Sent from Gmail Mobile -- References 1. mailto:edvihuel...@gmail.com 2. mailto:howardpos...@ca.rr.com 3. mailto:john.mardi...@asu.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. mailto:howardpos...@ca.rr.com 6. mailto:john.mardi...@asu.edu 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] what about the lute database
Hi - There is a database of original lutes at http://www.cs.dartmouth.edu/~lsa/associated/database/dbsearch.php <http://www.cs.dartmouth.edu/~lsa/associated/database/dbsearch.php> which at one time seemed like an active project, but it looks like nothing has happened in ten years. Can anyone tell me what happened to this project? I was reminded of it because I had to do some repair work to it. It was sponsored by the Lute Society or America but I donât see it on their new web site. Wayne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vivat Eliza
Dear David san
I didn't think of HIP, but am glad that the topic moved on to it and to
know the latest perspective of experts' ... :-) I know Robert Spencer's
opinion on singing early modern English which I am not trying to
question at the moment.
I should have asked 'received pronunciation' (?) of Laten in Anglican
church of today..
I am not sure about "Eliza" in latin. "Vivat" is to be pronounced like
vee-vat as far as I know... ( other Latin phrases appear in the song
didn't sound that English-like in the Rooley's recording.)
Tomoko
2017/04/24 0:48 "David van Ooijen" <[1]davidvanooi...@gmail.com>:
HIP 2.0 (?!)
Wa chotto hen desu, yo!
***
David van Ooijen
[1][2]davidvanooi...@gmail.com
[2][3]www.davidvanooijen.nl
***
On 23 April 2017 at 17:44, Jerzy Zak <[3][4]jurek...@gmail.com>
wrote:
Dear Tomoko,
Try GoogleTranslate. Put your fraze in the space on the left,
choose
a language you think it is in, and press the little speaker
underneath. Then keep changing languages until you think it
rhymes
best with âAve MarÃa'. Stupid but works ;)
Jerzy
â
> On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail
<[4][5]lutenist.mumin.ko...@gmail.com> wrote:
>
> Dear lute-list,
>
> Could anyone help me clarify pronunciation of "Vivat Eliza"
in
Dowland's composition
> to Sir. Henry Lee's poem "Time's Eldest Son"?
>
> I thought it could be " viÃvà ¦t ("Vivat" read in
ecclesiastical
Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes with
"Ave
Maria" ) though many sang it " vaà ªvà ¦t Ãlà ¬à ªzÃ" for
which
I
couldn't find any reason...
>
> Tomoko
>
>
>
>
>
> To get on or off this list see list information at
> [5][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:[7]davidvanooi...@gmail.com
2. [8]http://www.davidvanooijen.nl/
3. mailto:[9]jurek...@gmail.com
4. mailto:[10]lutenist.mumin.ko...@gmail.com
5. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
2017/04/24 0:48 "David van Ooijen" <[12]davidvanooi...@gmail.com>:
HIP 2.0 (?!)
Wa chotto hen desu, yo!
***
David van Ooijen
[1][13]davidvanooi...@gmail.com
[2][14]www.davidvanooijen.nl
***
On 23 April 2017 at 17:44, Jerzy Zak <[3][15]jurek...@gmail.com>
wrote:
Dear Tomoko,
Try GoogleTranslate. Put your fraze in the space on the left,
choose
a language you think it is in, and press the little speaker
underneath. Then keep changing languages until you think it rhymes
best with âAve MarÃa'. Stupid but works ;)
Jerzy
â
> On 23 Apr 2017, at 17:02, lutenist.mumin.koide gmail
<[4][16]lutenist.mumin.ko...@gmail.com> wrote:
>
> Dear lute-list,
>
> Could anyone help me clarify pronunciation of "Vivat Eliza" in
Dowland's composition
> to Sir. Henry Lee's poem "Time's Eldest Son"?
>
> I thought it could be " viÃvà ¦t ("Vivat" read in
ecclesiastical
Latin?) and " ÃiÃzÃ" (with this pronunciation it rhymes with
"Ave
Maria" ) though many sang it " vaà ªvà ¦t Ãlà ¬à ªzÃ" for
which
I
couldn't find any reason...
>
> Tomoko
>
>
>
>
>
> To get on or off this list see list information at
> [5][17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:[18]davidvanooi...@gmail.com
2. [19]http://www.davidvanooijen.nl/
3. mailto:[20]jurek...@gmail.com
4. mailto:[21]lutenist.mumin.ko...@gmail.com
5. [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. mailto:davidvanooi...@gmail.com
2. mailto:davidvanooi...@gmail.com
3. http://www.davidvanooijen.nl/
4. mailto:jurek...@gmail.com
5. mailto:lutenist.mumin.ko...@gmail.com
6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:davidvanooi...@gmail.com
8. http://www.davidvanooijen.nl/
9. mailto:jurek...@gmail
[LUTE] Re: do you know these ads? -now removed
Hi Lute people - Thanks to you people who pointed out that the pictures came from ebay. I have removed the ads from my web page. Wayne > Begin forwarded message: > > From: wbc <w...@cs.dartmouth.edu> > Subject: [LUTE] do you know these ads? > Date: March 15, 2017 at 1:15:00 PM EDT > To: lute@cs.dartmouth.edu > > Hi Lute people - > > I just got two ads, one for a romantic guitar and one for a vihuela, I > posted them on my lutes for sale web page - > http://www.cs.dartmouth.edu/~wbc/lute/forsale.html > <http://www.cs.dartmouth.edu/~wbc/lute/forsale.html> - but something about > the ads has me concerned. They both came in within a few minutes, both are > terse and donât describe the instrument much at all. Neither pictures are > great. And the names are a but odd. Could you folks take a look at what now > are the first two entries and tell me what you think, especially if you > happen to know the people or instruments involved. > > Wayne > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: My Lady Careys Dompe
--94eb2c129292162977054916b8fc Content-Type: text/plain; charset=UTF-8 See if these work for you. Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors www.lutesocietyofamerica.org On Tue, Feb 21, 2017 at 11:05 PM, sterling price < spiffys84...@cs.dartmouth.edu> wrote: > Hi all-- >I am looking for My Lady Careys Dompe as played by Paul O'Dette on the >Royal Lewters cd. Gathering from the liner notes I think it is Paul's >arrangement of the harpsichord version. Any ideas? >Thanks-- >Sterling > >-- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --94eb2c129292162977054916b8fc Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable See if these work for you.MichaelMichael M. Grant, PhDDirector, Lute Rental ProgramMember, Board of Directorshttps://docs.google.com/uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download; width="120" height="64"><sp! an>http://www.lutesocietyofamerica.org; target="_blank">www.lutesocietyofamerica.org On Tue, Feb 21, 2017 at 11:05 PM, sterling price mailto:spiffys84...@cs.dartmouth.edu; target="_blank">spiffys84...@cs.dartmouth.edu wrote:  Hi all--   I am looking for My Lady Careys Dompe as played by Paul ODette on the   Royal Lewters cd. Gathering from the liner notes I think it is Pauls   arrangement of the harpsichord version. Any ideas?   Thanks--   Sterling   -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --94eb2c129292162977054916b8fc-- --
[LUTE] Re: planetary tuners
A musician friend of mine, who majored in physics in college, wrote a song: "Between atrophy and entropy we haven't got a chance " I think that applies here , Tom Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Feb 12, 2017, at 12:08 PM, John Mardinly <john.mardi...@asu.edu> wrote: > So my suspicion that it could drive you nuts was well founded. Sounds > like you may be an under-appreciated hero to Lutedom. > > A. John Mardinly, Ph.D., P.E. > Retired Principal Materials Nanoanalysis Engineer > > On Feb 12, 2017, at 7:33 AM, LSA Lute Rental Program > <[1]lsaluteren...@gmail.com> wrote: > > John, > You are quite right and that would do much to solve the roundness > problem. But my other problem is that the rental lutes are stored in 3 > places across the US and since they are rentals they are rented out to > people. This means we don't have access to the lutes because they are > in the hands of the renters...sometimes for several years at a time. > There are lutes in the collection that I have never even seen in person > much less put my hands on so I can do things like you suggest. That is > why I wish I could put PegHedz on them all--because I can't care for > the friction pegs and even though I may ask renters to do so they are > renters and not owners and sometimes their motivation to be thorough in > care is, well, somewhat diminished to put it mildly. I also think > renters would benefit from them as, to me, tuning is much easier and > for people who are renting (this almost always means they are new to > the lute--which is why they are renting) it would be, in my opinion, a > benefit. > But this is all just theoretical since we don't have the money it costs > to replace the pegs. So we will live with what we have and I will deal > with peg problems as they come up. > Michael > Michael M. Grant, PhD > Director, Lute Rental Program > Member, Board of Directors > [uc?id9TJhsqVKmGMNWhuR19WWXJYQU0export=download] > [2]www.lutesocietyofamerica.org > On Sat, Feb 11, 2017 at 11:46 PM, John Mardinly > <[3]john.mardi...@asu.edu> wrote: > > Michael; > With standard pegs, they won't go out of round if you maintain them > properly. That means loosening the peg by turning it and pulling out a > bit so that there is just light pressure between the wooden parts. That > compensates for the dimensional changes caused by humidity changes. Of > course that throws the instrument out of tune, which means you might > need to re-tune it, and if you have 42 lutes you will need extra > staff, medical marijuana or psychiatric treatment. > However, you probably already know this. > A. John Mardinly, Ph.D., P.E. > Retired Principal Materials Nanoanalysis Engineer > > On Feb 11, 2017, at 5:32 PM, LSA Lute Rental Program > <[4]lsaluteren...@gmail.com> wrote: > > About once a year the topic of planetary tuners comes up on this > listserve. People weigh in for and against, sometimes (like last > year) the discussion gets overheated as some who are against cite > historical authenticity and other factors as reasons against and > those > who are for them cite the "make it easy on yourself--adopt modern > methods" position to support their use. > Then, after the dust settles, we discover we are pretty much evenly > split for and against and the issue dies down only to rise again in > 12 > months. > For those who do not wish to use planetary tuners, the most notable > example of which is PegHedz, their best approach is not to use them. > For those, like me, who have used them and like them very much > indeed, > the best approach is to keep using them. I have 42 instruments in > the > LSA's lute rental collection and if I had the money to do so I would > install PegHedz on every single one. The LSA neither supports nor > does not support the use of any particular tuner, including friction > pegs or planetary tuners such as PegHedz. I am only telling you > that > I think they are such a valuable resource that I would put them on > all > the lutes if it could be afforded. It can't so I won't. But if I > did it would forever eliminate the problem that aging lutes have of > pegs that become out of round and needing replacing or retooling. > It > would also make tuning much easier for beginners--but that is just my > opinion. > So it seems best for us to use what we like as tuners and focus on > the > music we make with the strings. Let us all contin
[LUTE] Re: planetary tuners
John, You are quite right and that would do much to solve the roundness problem. But my other problem is that the rental lutes are stored in 3 places across the US and since they are rentals they are rented out to people. This means we don't have access to the lutes because they are in the hands of the renters...sometimes for several years at a time. There are lutes in the collection that I have never even seen in person much less put my hands on so I can do things like you suggest. That is why I wish I could put PegHedz on them all--because I can't care for the friction pegs and even though I may ask renters to do so they are renters and not owners and sometimes their motivation to be thorough in care is, well, somewhat diminished to put it mildly. I also think renters would benefit from them as, to me, tuning is much easier and for people who are renting (this almost always means they are new to the lute--which is why they are renting) it would be, in my opinion, a benefit. But this is all just theoretical since we don't have the money it costs to replace the pegs. So we will live with what we have and I will deal with peg problems as they come up. Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download] [1]www.lutesocietyofamerica.org On Sat, Feb 11, 2017 at 11:46 PM, John Mardinly <[2]john.mardi...@asu.edu> wrote: Michael; With standard pegs, they won't go out of round if you maintain them properly. That means loosening the peg by turning it and pulling out a bit so that there is just light pressure between the wooden parts. That compensates for the dimensional changes caused by humidity changes. Of course that throws the instrument out of tune, which means you might need to re-tune it, and if you have 42 lutesâ¦â¦you will need extra staff, medical marijuana or psychiatric treatment. However, you probably already know this. A. John Mardinly, Ph.D., P.E. Retired Principal Materials Nanoanalysis Engineer On Feb 11, 2017, at 5:32 PM, LSA Lute Rental Program <[3]lsaluteren...@gmail.com> wrote: About once a year the topic of planetary tuners comes up on this listserve.People weigh in for and against, sometimes (like last year) the discussion gets overheated as some who are against cite historical authenticity and other factors as reasons against and those who are for them cite the "make it easy on yourself--adopt modern methods" position to support their use. Then, after the dust settles, we discover we are pretty much evenly split for and against and the issue dies down only to rise again in 12 months. For those who do not wish to use planetary tuners, the most notable example of which is PegHedz, their best approach is not to use them. For those, like me, who have used them and like them very much indeed, the best approach is to keep using them.I have 42 instruments in the LSA's lute rental collection and if I had the money to do so I would install PegHedz on every single one.The LSA neither supports nor does not support the use of any particular tuner, including friction pegs or planetary tuners such as PegHedz.I am only telling you that I think they are such a valuable resource that I would put them on all the lutes if it could be afforded.It can't so I won't.But if I did it would forever eliminate the problem that aging lutes have of pegs that become out of round and needing replacing or retooling. It would also make tuning much easier for beginners--but that is just my opinion. So it seems best for us to use what we like as tuners and focus on the music we make with the strings.Let us all continue to make beautiful music no matter what method we use to tension our strings. Michael On Sat, Feb 11, 2017 at 5:53 PM Charles Mokotoff <[1][4]mokot...@gmail.com> wrote: Seems we are about 50/50 split on the peghedz... FWIW, I have used this device: [1][2][5]https://urldefense.proofpoint.com/v2/url?u=https- 3A__www.amazon.com_Ernie-2DBall-2DPowerpeg-2DBattery- 2DPowered_dp_=DQIBAg=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU= MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=NIRfj- oODuubeNdT31nk3d6Py8Hum4Es2kpGPoRLDp4=Z3rK7eE8clhRRlhovKEvSBAiguoaVa ubyu-ARWOJktY= B0019H 6750/ref=sr_1_1?ie=UTF8=1486853424=8-1& to get around the tedium of string changing, its sort of fun actually, and fits my pegs fine. Admittedly, once I got the set correct, I change lute strings very rarely.
[LUTE] Re: planetary tuners
About once a year the topic of planetary tuners comes up on this
listserve. People weigh in for and against, sometimes (like last
year) the discussion gets overheated as some who are against cite
historical authenticity and other factors as reasons against and those
who are for them cite the "make it easy on yourself--adopt modern
methods" position to support their use.
Then, after the dust settles, we discover we are pretty much evenly
split for and against and the issue dies down only to rise again in 12
months.
For those who do not wish to use planetary tuners, the most notable
example of which is PegHedz, their best approach is not to use them.
For those, like me, who have used them and like them very much indeed,
the best approach is to keep using them. I have 42 instruments in the
LSA's lute rental collection and if I had the money to do so I would
install PegHedz on every single one. The LSA neither supports nor
does not support the use of any particular tuner, including friction
pegs or planetary tuners such as PegHedz. I am only telling you that
I think they are such a valuable resource that I would put them on all
the lutes if it could be afforded. It can't so I won't. But if I
did it would forever eliminate the problem that aging lutes have of
pegs that become out of round and needing replacing or retooling. It
would also make tuning much easier for beginners--but that is just my
opinion.
So it seems best for us to use what we like as tuners and focus on the
music we make with the strings. Let us all continue to make beautiful
music no matter what method we use to tension our strings.
Michael
On Sat, Feb 11, 2017 at 5:53 PM Charles Mokotoff
<[1]mokot...@gmail.com> wrote:
Seems we are about 50/50 split on the peghedz...
FWIW, I have used this device:
[1][2]https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/
B0019H
6750/ref=sr_1_1?ie=UTF8=1486853424=8-1&
to get around the tedium of string changing, its sort of fun
actually,
and fits my pegs fine. Admittedly, once I got the set correct, I
change
lute strings very rarely.
On Sat, Feb 11, 2017 at 5:10 PM, <[2][3]jsl...@verizon.net>
wrote:
Dear All,
I really don't think the planetary tuning pegs are
necessary for
a
lute with good-fitting pegs. I find that a small amount of
violin
"peg
dope" -- the hard, waxy type, not the softer gooey type --
is all
the
help my lute and vihuela pegs need.
On the other hand, I did get them installed on my cittern,
and
they
are a godsend. So, like Ms. Carlin, I would recommend them
for
wire-strung instruments, which have greater tuning
difficulties.
Cheers,
Jim Stimson
On 02/11/17, Roman Turovsky<[3][4]r.turov...@gmail.com>
wrote:
A question for the Collective Wisdom:
Looking for opinions on planetary tuners for lutes or
vihuelas,
cautionary tales, where to get them, which brands, how to
install
etc.
Thank ye all,
RT
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1.
[7]https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B00
19H6750/ref=sr_1_1?ie=UTF8=1486853424=8-1&
2. mailto:[8]jsl...@verizon.net
3. mailto:[9]r.turov...@gmail.com
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References
1. mailto:mokot...@gmail.com
2. https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B0019H
3. mailto:jsl...@verizon.net
4. mailto:r.turov...@gmail.com
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
6. http://www.cs.dartmouth.edu/
7.
https://www.amazon.com/Ernie-Ball-Powerpeg-Battery-Powered/dp/B0019H6750/ref=sr_1_1?ie=UTF8=1486853424=8-1;
8. mailto:jsl...@verizon.net
9. mailto:r.turov...@gmail.com
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11. http://www.cs.dartmouth.edu/
[LUTE] Re: Audio recordings of "Anonymous" music
Best thing to do is ask Miguel himself: [1]cont...@leluthdore.com Michael Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download] [2]www.lutesocietyofamerica.org On Fri, Jan 13, 2017 at 10:31 AM, Jack <[3]jackyen...@gmail.com> wrote: I am wondering if anyone can help me find audio recordings for many of the beginner pieces In Miguel Yisrael's method for baroque lute book. I have found a few of them through searching on YouTube, but if anyone else has used this book and has some good recommendations on where to find the music , it would be most educational. There are tons of Anonymous pieces in this book and it is very hard to track some of them down. As always, any help would be greatly appreciated John Sent from my iPhone To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:cont...@leluthdore.com 2. http://www.lutesocietyofamerica.org/ 3. mailto:jackyen...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: P73 on Youtube
Just wanted to remind all lute teachers and others in the US that the Lute Society of America has rental lutes available. Renaissance (Descant and Tenor), Baroque, Archlutes, etc. are ready to rent. For details and to see the available instruments, go to the Lute Rental Program button at www dot lutesocietyofamerica dot org Michael Grant Michael M. Grant, PhD Director, Lute Rental Program Member, Board of Directors [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download] [1]www.lutesocietyofamerica.org On Sat, Oct 29, 2016 at 6:53 AM, Martin Shepherd <[2]mar...@luteshop.co.uk> wrote: Hi All, Francis just made a video of this piece, I hope you enjoy it! [3]https://www.youtube.com/watch?v=ZjY9wDOecwM Best wishes, Martin --- This email has been checked for viruses by Avast antivirus software. [4]https://www.avast.com/antivirus To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.lutesocietyofamerica.org/ 2. mailto:mar...@luteshop.co.uk 3. https://www.youtube.com/watch?v=ZjY9wDOecwM 4. https://www.avast.com/antivirus 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Attaingnant's Preludes, Chansons, and Dances
Book was published by Societe de Musique D'Autrefois in 1964. Edited by Daniel Heartz. Michael M. Grant, PhD Director, Lute Rental Program [uc?id=0B9TJhsqVKmGMNWhuR19WWXJYQU0export=download] [1]www.lutesocietyofamerica.org On Sun, Sep 4, 2016 at 12:22 PM, Sean Smith <[2]lutesm...@gmail.com> wrote: Hi Michael, Is this a modern edition? Secourez moi is in Attaignant's "Tres breve et familiarea|" (1529) but there are no dances in the book. It would require a singer as well since most chansons are presented twice a once as Cantus-and-lute and again as a lute solo. Sean On Sep 4, 2016, at 8:09 AM, LSA Lute Rental Program <[3]lsaluteren...@gmail.com> wrote: >Does anyone know if there exists a recording of all the preludes, >chansons, and dances contained in Attaignant's Preludes, Chansons, and >Dances for Lute (1529-1530)? >I know individual pieces from this have been recorded, some innumerable >times, but I am wondering if there exists a recording of all the >pieces. For example, I am trying to find a lute only recording of one >of the chansons, Secourez moy (No. 22). But I am also interested in >recordings of the other pieces, esp. if they exist in one recorded >source. >Thanks, >Michael > >-- > > > To get on or off this list see list information at > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.lutesocietyofamerica.org/ 2. mailto:lutesm...@gmail.com 3. mailto:lsaluteren...@gmail.com 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] was Baroque guitar tablature - now follow a link
Hi Monica - The lute mail list robot often messes up links in the body of the message, but down at the bottom of the message is a âReferences: section with the correct link. The Referenced link just worked for me, but your mail reader might be different. http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg Wayne > Begin forwarded message: > > From: "mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk> > Subject: [LUTE] Re: Baroque guitar tablature > Date: September 1, 2016 at 4:43:01 AM EDT > To: <al...@musickshandmade.com> > Cc: LutList <lute@cs.dartmouth.edu> > > > Can't actually access the page you have given. However I have a copy > of the ms. > > The vertical dasshes below and above the highest line indicate the > strumming. Down from the line is a bass to treble stroke and up from > the line is a treble to bass stroke. > The open courses should be included in the chords provided that they > belong to the basic triad. They don't include the "As" unless this is > essential to make sense. > A dot after a stroke may indicate that it is a dotted note - but I > can't see which specific piece you are referring to. > An x is usually a descending appoggiatura from the note above. > Oblique dashes below the stave usually mean that the chord is to be > sustained. > If you can tell me the page number or the title of the specific pieces > I might be able to shed a bit more light. > BEst > Monica > Original Message > From: al...@musickshandmade.com > Date: 01/09/2016 8:05 > To: "Lute List"<lute@cs.dartmouth.edu> > Subj: [LUTE] Re: Baroque guitar tablature > > I am hoping someone can help me understand some of the symbols on this > piece of Baroque guitar tablature - maybe Monica? > Here is a facsimile copy: > [1]http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page > > _0205.jpg > 1 ) Small vertical dashes above the first line: I understand this is > an > indication of strumming with the hand from the bottom up - or is it > the > other way? > 2) The dots after a vertical dash - like this "|." : is that a > dotted > (invisible) flag value -- or a bar line -- or? > 3) the 'x' - often following the dotted dash mentioned above: a > shake > or mordent??? If so it looks a little far away from its note... > 4) the 'y' that looks like the 'x' described above but more like a > 'y' > (or a 'v') and bigger: > 5) Oblique dashes on the first and/or 5th line: no idea what these > are... > I am also kind of wondering if open strings are not sort of implied > within a chord ... > Any help on any of the above appreciated. To me, it looks like > pretty > amazing short-hand from someone who knew the instrument extremely > well... > Alain > -- > > References > > 1. > http://signtracks.com/facsimiles/Guitar/Baroque/Langhenhove/319_page_0205.jpg > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > --
[LUTE] Re: Cayphas?
Thank you all for replying so promptly.
'Caiaphas'... now it looks obvious.. I should have asked earlier..!
>which is devoted to Martini's chansons. The notes from that volume
might be of immense value in determining why this chanson was named
Cayphas.
That is exactly what I wanted to know. Thank you so much again,
William.
Tomoko
2016/08/30 1:27 "William Brohinsky" <[1]tiorbin...@gmail.com>:
Hi Tomoko,
I would suggest that Cayphas is Caiaphas, i.e. Joseph Caiaphas, who was
Chief Priest of the Temple of Jerusalem in the time of Christ.
My supporting information would be Play 29 from the York Corpus Christi
plays, "the Trial before Cayphas and Anna".
By all appearances, Anna is Annas, specifically Annas, son of Seth,
installed by Quirinus (Roman Governer of Syria) as High Priest in 6CE.
He held the office until deposed by Valereus Gratus, Procurator of
Judea, in 15CE. Despite having been removed from the office, he
retained significan power and wealth, which could well have paved the
way for his son-in-law Joseph Caiaphas (Cayphas) to become High Priest
in 27CE. Caiaphas held office until 37CE, which placed him in the
position of Religious Leader of the Jews in 33CE, when Jesus was tried
for Blasphemy.
The Bible records, all told, three trials: First in the house of
Caiaphas, with all of the Pharasees and Scribes present. Then, he is
taken before "the High Priest", with no specification: this is believed
to be Annas, who had been appreciated by the Pharasees and was still,
by some, seen as the 'real' high priest (in light of his deposing by a
Roman procurator, despite that he was installed by a Roman Governer!).
In the morning, Jesus was brought before the Chief Priests and Scibes,
who formed a delegation to take him before Pilate.
Play 29 of the York Corpus Christi Plays is believed to have been
written in the early 1400's, possibly after 1405 as a reflection, in
part, of the "legal irregularities" of the Trial of "the popular
Archbishop Scrope" (quotes from the notes at
[2]http://d.lib.rochester.edu/teams/text/davidson-play-29-
the-trial-before-cayphas-and-anna). Johannes Martini is dated as living
from ca. 1440 - ca. 1498. It is likely that Caiaphas was regularly
referred to as "Cayphas".
The piece (which can be viewed on IMSLP but is public domain everywhere
but the US) may have first been found in a collection of chansons
celebrating the marriage of Isabella d'Este to Francesco Gonzaga (I
haven't been able to find a specific provenance) and was first
published in recent times in Volume 1 of "Recent Researches in the
Music of the Middle Ages and Early Renaissance" (M001) which is devoted
to Martini's chansons. The notes from that volume might be of immense
value in determining why this chanson was named Cayphas. (It is still
available, 47USD from [3]http://www.areditions.
com/martini-secular-pieces-m001.html).
As for other pieces by Martini, three of his chansons appear in
Harmonice Musices Odhecaton, printed by Petrucci (first book of
polyphonic music printed with movable type): La fleur de biaulte,
Fault il que beur Soy, and Nenccioza: the editor preserved much music
of the previous century in Odhecaton. Martini wrote masses on many
popular themes, and his antiphonal settings of psalms may well have
established the style which was made popular by Willaert in Venice in
the middle-16thC, and brought to the German states where it is
documented (amply) by Praetorius in his 3-volume Syntagma Musicum and
compositions.
On Mon, Aug 29, 2016 at 11:00 AM, Tomoko Koide
<[4]lutenist.mumin.ko...@gmail.com> wrote:
Dear LSA collective wisdom,
Could anyone help me identifying who "Cayphas" is? This is only the
piece I know of Johannes Martini's and I've been wondering who it
is, or what it is..
Regards,
Tomoko Koide
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References
1. mailto:tiorbin...@gmail.com
2.
http://d.lib.rochester.edu/teams/text/davidson-play-29-the-trial-before-cayphas-and-anna
3. http://www.areditions.com/martini-secular-pieces-m001.html
4. mailto:lutenist.mumin.ko...@gmail.com
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Io non compro la speranza
Does anyone have tab for Marchetto Cara's Io non compro la speranza? Thanks, Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Crawford Young is visiting the San Francisco Bay Area.
(forwarded message, reply to Mike) Dear Ones, Crawford Young is visiting the San Francisco Bay Area. You are all invited to my house Saturday April 2, at 1pm for an open house to greet Crawford, have a lute party and see a slide show on Crawfordâs PhD project on researches into the Early Cittern. My address is 4118 Peregrine Way, Pleasanton CA. This is Crawfordâs only visit to the USA and the Bay Area this year. Crawford will be staying here for 3 weeks and will be leaving on April 18th. During this time he will be available for lute lessons and ensemble coaching either at my house or at yours, if you are in the Bay Area. This is an ideal time to make connections and arrangements. If you wish to contact him directly you can email or text message Crawford at crawl...@hotmail.com <mailto:crawl...@hotmail.com>, or Mike Peterson at mb...@comcast.net <mailto:mb...@comcast.net>. Crawford is interested in doing a lute concert towards the end of his stay, but we have not yet made any arrangements yet. Last year we had the concert at Ifshin Violins in El Cerrito, which was a success. Is there any interest in arranging a house concert locally on Saturday April 16? If so, let me or Crawford know. Mike Peterson -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Score for Robert de Visee's Chaconne in G?
--001a1140be9285612b052ef85117 Content-Type: text/plain; charset=UTF-8 I am sure you already have the tablature for theorbo of the Chaconne from the Saizenay MS (attached). Because I wanted to see how it could be transposed to play on a 10 c Ren lute, I asked Eduardo Eguez, in his class on de Visee' at the June 2015 LSA Summer Seminar to help. We spent a class transposing it to some semblance of what could be played on a 10c Ren lute. I have photographs of the white boards on which we wrote the modern staff notation if no one else can give you anything. I think I may also have the French tab in a cleaned up version of if for a Ren lute in g. But be warned: it does not sound like Xavi's rendition. Partly because it was for theorbo and partly because Xavi is such a fantastic player. Michael Michael M. Grant, PhD Director, Lute Rental Program www.lutesocietyofamerica.org On Sat, Mar 26, 2016 at 2:09 PM, Peter Kwasniewski < peter.kwasniew...@wyomingcatholiccollege.com> wrote: >We are looking for a score (modern notation) of de Visee's Chaconne in >G -- the one being played here: >[1]https://www.youtube.com/watch?v=LO_jpR04Hfo >Has anyone seen this? We've searched online for it already and turned >up nothing yet. >-- >Peter A. Kwasniewski >Wyoming Catholic College >306 Main Street, Lander, WY 82520 >College offices: (307) 332-2930 >My direct line: (307) 335-4418 >Websites: >[2]Wyoming Catholic College >[3]The Aquinas Institute >[4]Catholic Social Teaching >[5]Sacred Music > >-- > > References > >1. https://www.youtube.com/watch?v=LO_jpR04Hfo >2. http://www.wyomingcatholiccollege.com/ >3. http://www.theaquinasinstitute.org/ >4. http://www.thomasstorck.org/ >5. http://www.ccwatershed.org/kwasniewski > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --001a1140be9285612b052ef85117 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable I am sure you already have the tablature for theorbo of the Chaconne from the Saizenay MS (attached).Because I wanted to see how it could be transposed to play on a 10 c Ren lute, I asked Eduardo Eguez, in his class on de Visee at the June 2015 LSA Summer Seminar to help. We spent a class transposing it to some semblance of what could be played on a 10c Ren lute. I have photographs of the white boards on which we wrote the modern staff notation if no one else can give you anything. I think I may also have the French tab in a cleaned up version of if for a Ren lute in g. But be warned: it does not sound like Xavis rendition. Partly because it was for theorbo and partly because Xavi is such a fantastic player.MichaelMichael M. Grant, PhDDirector, Lute Rental Programhttps://docs.google.com/uc?export=downloadid=0BywMNZPGnsKPTEQ3Q19lb3VlMWcrevid=0BywMNZPGnsKPaTFCaDB5S3haUW1lWUFyWERrNnhGWSsvNk5RPQ; height="68" width="124">http://www.lutesocietyofamerica.org; target="_blank">www.lutesocietyofamerica.org On Sat, Mar 26, 2016 at 2:09 PM, Peter Kwasniewski mailto:peter.kwasniew...@wyomingcatholiccollege.com; target="_blank">peter.kwasniew...@wyomingcatholiccollege.com wrote:  We are looking for a score (modern notation) of de Visees Chaconne in   G -- the one being played here:   [1]https://www.youtube.com/watch?v=LO_jpR04Hfo; rel="noreferrer" target="_blank">https://www.youtube.com/watch?v=LO_jpR04Hfo   Has anyone seen this? Weve searched online for it already and turned   up nothing yet.   --   Peter A. Kwasniewski   Wyoming Catholic College   306 Main Street, Lander, WY 82520   College offices: (307) 332-2930   My direct line: (307) 335-4418   Websites:   [2]Wyoming Catholic College   [3]The Aquinas Institute   [4]Catholic Social Teaching   [5]Sacred Music   -- References   1. https://www.youtube.com/watch?v=LO_jpR04Hfo; rel="noreferrer" target="_blank">https://www.youtube.com/watch?v=LO_jpR04Hfo   2. http://www.wyomingcatholiccollege.com/; rel="noreferrer" target="_blank">http://www.wyomingcatholiccollege.com/   3. http://www.theaquinasinstitute.org/; rel="noreferrer" target="_blank">http://www.theaquinasinstitute.org/   4. http://www.thomasstorck.org/; rel="noreferrer" target="_blank">http://www.thomasstorck.org/   5. http://www.ccwatershed.org/kwasniewski; rel="noreferrer" target="_blank">http://www.ccwatershed.org/kwasniewski To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html; rel="noreferrer" target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --001a1140be9285612b052ef85117-- --
[LUTE] Lute Sampling
I have learned that the new lute producing company, Le Luth Dore' (LLD) will have its new 11c Baroque lute prototype available for anyone to try on Feb 10 in New York city at the Harvard Club. I have been told that anyone who wants to try it should contact LLD at [1]cont...@leluthdore.com Michael -- References 1. mailto:cont...@leluthdore.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Correction
Mistake in previous email: the LLD Baroque is 13 c not 11 c. Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Saturday morning quotes - Pitch
Thanks William, I believe this tidbit of information came from Arthur A. Reblitz's book, Piano Servicing, Tuning and Rebuilding. Can't remember for sure. I will be the first to admit that this could be mis-information also! Thanks again, Tom Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Jan 18, 2016, at 1:27 PM, William Brohinsky <tiorbin...@gmail.com> wrote: > Is there a reference for these dates/numbers, especially the claim that A440 > was 'set' in 1916 for American Standard Pitch for pianos? > > In 30 years of piano tuning, I've seen many claims, but I am unaware of an > American organization with the power to declare standard pitch for pianos > operating before the International Organization for Standards (the dyslexic > ISO) meetings in 1938 and 1939 (dates muddied by the generally poor accuracy > of Groves 2), and even then, ISO had to re-affirm A440 in 1959 and 1979, > apparently because a lot of organizations weren't willing to give up that > little bit of "brightness" that tuning a few Hertz higher brings. > > Scheibler, credited with the invention of tuning forks, recommended A440.0, > and the Deutsche Naturforscherversammlung established that as the German > Standard in 1834. Steinway's pitchforks indicate that they favored A454.7 in > London and 457.2 in NY in 1897. > > The French government decreed that A435 was standard for that nation in 1859. > This was supposed to be a compromise between the extremes of A450, favored by > instrumentalists for brightness, and singers, who preferred A422. In England, > near the end of the 19th century, the London Royal Philharmonic Society > jiggered the numbers for a higher standard pitch, since France had specified > a specific build of oboe, playing A in a room at 59degF. They calculated that > a piano, tuned to that pitch, but operating at "normal" room temperature of > 68degF would rise to 438.9Hz, so when 1900 rolled around, A435 and A439 were > standards in France and England, respectively. > > Cavanaugh makes the claim that the Broadcasting industry in Europe and the US > pushed for an A440 standard, based on the BBC's use of a 1MHz oscillator, > torturously reduced to 1KHz by dividers, then multiplied by 11 and divided by > 25 to arrive at a stable 440Hz pitch (in a quote attributed to Llewelyn S. > Lloyd). He allows that the BBC's affection for this pitch standard may not > have had as much effect as Lloyd seems to indicate. > > Generally speaking, I've found that pianos built before 1940 tend to > gravitate to A438 even when tuned above or below that pitch, and have read > numerous articles intended for piano tuners (none of which I still have) > claiming that before the ISO proclamation, A438 was the preferred pitch for > American piano makers. Whether that is true or not, I can't find any official > organization which selected A440 before the ISO meetings of 1938 and/or 1939. > > So ... Who set A440 as standard for American Pianos in 1916? > > On Sun, Jan 17, 2016 at 8:35 PM, Lute List <l...@heartistrymusic.com> wrote: > Resent without "equal" signs: > > On Jan 17, 2016, at 2:09 PM, Lute List <l...@heartistrymusic.com> wrote: > > I have been restoring an early square piano by Chickering > circa 1840. > In my communications with other piano techs and my research, > I have found that pitch, even in the 19th century, varied wildly. > The 1840 Chickering, one of the very first pianosto incorporate > a full cast metal plate, was designed to be tuned at A 430. > By the 1870's pitch had risen to as high as 465! > And, of course, it was different in Europe than in the US. > There is a LOT of mis-information in the A 432 arguments, > including that it was the Nazis who insisted on 440. NOT TRUE. > American standard pitch for pianos was set at 440 in 1916, and > all pianos with full (not victorian) cast plates have been designed > in the US to be tuned at A 440 ever since. > There has always been a quest for brighter and louder tone. > Increasing string tension does this. But is happens with wind > instruments as well. Scottish Highland Pipes were at one time > pitched in A, and over a few hundred years have been raised to Bb. > So - just tune your lute 'til your (gut) 1st string breaks, all the > while looking at a meter, then back it off 1 Hz. I'm sure it will be > resonant with the cosmos :) > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Re: Saturday morning quotes - Pitch
Thanks Wayne, and apologies for my ignorance. I'll re-send Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 715-682-9362 On Jan 17, 2016, at 4:42 PM, wayne cripps <w...@cs.dartmouth.edu> wrote: > Hi Tom , and everyone else > > The lute list is set up to unpack" messages that have been "packed up" > for travel by your computer. One system of packing" text is called > quoted-printable, and it uses an equals sign followed by a number to > represent special characters and numbers. So when you write about a > pitch using A 440 and you computer sends it off as > quoted-printable the lute list robot interprets that as a hex number > like D0. If you write A 440 it will stand a better chance of getting > through. Or you could try to set up your mail program to avoid using > any special formatting, though that could be tricky. > > Wayne > > >> The 1840 Chickering, one of the very first pianos >> to incorporate a full cast metal plate, was designed to be tuned >> at AC0. > >> There is a LOT of mis-information in the AC2 arguments, > >> including that it was the Nazis who insisted on 440. NOT TRUE. >> tuned at AD0 ever since. > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Saturday morning quotes - Pitch
Resent without "equal" signs: On Jan 17, 2016, at 2:09 PM, Lute List <l...@heartistrymusic.com> wrote: I have been restoring an early square piano by Chickering circa 1840. In my communications with other piano techs and my research, I have found that pitch, even in the 19th century, varied wildly. The 1840 Chickering, one of the very first pianosto incorporate a full cast metal plate, was designed to be tuned at A 430. By the 1870's pitch had risen to as high as 465! And, of course, it was different in Europe than in the US. There is a LOT of mis-information in the A 432 arguments, including that it was the Nazis who insisted on 440. NOT TRUE. American standard pitch for pianos was set at 440 in 1916, and all pianos with full (not victorian) cast plates have been designed in the US to be tuned at A 440 ever since. There has always been a quest for brighter and louder tone. Increasing string tension does this. But is happens with wind instruments as well. Scottish Highland Pipes were at one time pitched in A, and over a few hundred years have been raised to Bb. So - just tune your lute 'til your (gut) 1st string breaks, all the while looking at a meter, then back it off 1 Hz. I'm sure it will be resonant with the cosmos :) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Performing lute in ensemble
To go in a completely different direction, one of the items sold on my âlutes for saleâ web page was a lute-banjo. (The owner made it as a travel instrument.) I bet that if you could put a lute neck on a Mastertone style pot you could keep up with modern strings! Wayne > Begin forwarded message: > > From: Daniel Shoskes <kidneykut...@gmail.com> > Subject: [LUTE] Performing lute in ensemble > Date: December 27, 2015 at 7:43:13 AM EST > To: Lute List <lute@cs.dartmouth.edu> > > Dear list: Iâve been having fun with the Lauffensteiner g minor > âconcertoâ (andante:https://youtu.be/q9dV2QbcBc8 > <http://youtu.be/q9dV2QbcBc8>). In the Brussels Ms it has parts for 2 violins > and 1 cello (OK, 2 treble clef instruments and a bass clef instrument with > figures). In performance of pieces like this, how do people handle balance of > instruments? Clearly having the other instruments in gut would help but > itâs still a struggle to have the lute loud enough in comparison with the > strings. Mics? Mutes? Just play as loud as you can all the way through? > > Thanks > > Danny > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --
[LUTE] Robert Cooper
I am in the process of selling a lute to a fellow who already owns one made by a luthier name Robert Cooper. He is asking me about Cooper and if I know anyone who also has a lute made by him. I told him I knew nothing but would ask on the listserve. If you have a lute made by Cooper or can share some info about him, please respond and I will pass this on to the fellow. Thanks, Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Wetting Fingers
Every month I try to send all the renters of Lute Society of America lutes a little info on some topic. The one I am doing a bit of research on now is the practice of wetting right hand thumb, index, and middle fingers before playing the lute. I am sure this has been a past topic and am sure there are lots of opinions out there about this. That is, actually, why I am asking for your thoughts. Some lutenists "fog" their fingers, some wet them, some wet them and rub their fingers against their nose to collect oil, some use lotion or mineral oil or Vaseline, some do other things, some do nothing and play with dry fingers. Can you offer me any history about any of these practices, any information, pros/cons, advantages/disadvantages, issues of string type (gut, Nylgut, nylon, etc.)? I am not taking a position on the issue...I am just gathering information and whatever you can share is appreciated. Thanks, Michael Grant -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] OT - Banjo String Tension and Diameter
Dear Collective Wisdom, I play a variety of instruments with frets and strings. In addition dabbling in Renaissance Lute, I play 5 string banjo. I want to tune one of my banjos down a fourth for matching a comfortable vocal range for accompanying some songs that I perform. Would any of you Physics Professor types out there be willing to help me with calculating the best string diameter, in thousandths of an inch, for steel strings in the following lengths (in inches) and pitches? (4 string would be wound, 3rd could also be wound 1,2 and 5 should be plain) Many thanks in advance, 1st 26 7/16. A3220Hz 2nd 26 1/2. F#3 185Hz 3rd 26 9/16. D3 146.8Hz 4th 26 1/2. A2 110Hz 5th 26 7/16. D4. 293.6Hz Tom Draughon Heartistry Music www.heartistry.com 714 9th Ave. W. Ashland, WI 54806 716-682-9362 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Dante
Dear collective wisdom, Does anyone know any music concerns Dante Alighieli, or anything related to his birthplace Florence, hopefully suitable to play with a single lute? Regards, Tomoko Koide -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes and Pitchforks
I prefer the trident ... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lutes and Pitchforks
I prefer the trident ... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[no subject]
0 To: Louis Aull aul...@comcast.net Cc: lute@cs.dartmouth.edu From: timothy swain timothy...@clear.net Subject: [LUTE] Re: Christmas Music Status: O What a heart-warming message! Bravo! And indeed a Merry Christmas... Tim On Mon, Dec 22, 2014 at 5:39 AM, Louis Aull aul...@comcast.net wrote: Performed the Messiah twice yesterday. This morning my fingers and my butt are still sore and I can't get the sounds of the Messiah out of my head. What a wonderful Christmas gift. Merry Christmas everyone. Louis Aull -- 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
Herbert - I think that a string has many resonant narrow frequencies, all musically related to each other. A cymbal has many narrow resonant frequencies, all *not* musically related to each other. So our ears do not add them up into one musical note. But the cymbal does resonate. Wayne Begin forwarded message: From: Herbert Ward wa...@physics.utexas.edu mailto:wa...@physics.utexas.edu Subject: [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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Vivaldi complete lute works
Dear collective wisdom of lutenists, Could anyone let me know where I can get this publication? [1]http://issuu.com/emotiv/docs/vivaldidemo I found this thread in the mail-archive but the last question does not seem to be answered yet. [2]https://www.mail-archive.com/lute%40cs.dartmouth.edu/msg37280.htm regards, Tomoko Koide -- References 1. http://issuu.com/emotiv/docs/vivaldidemo 2. https://www.mail-archive.com/lute%40cs.dartmouth.edu/msg37280.htm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: those Pignoses!
Begin forwarded message: From: howard posner howardpos...@ca.rr.com My Pignose Hog 30 is my go to amp for playing at outdoor events! (along with a Sennheiser microphone and a line adaptor) Hows the bass response? Does it make a lute sound like a lute? I used to use the original model in my electric days, though I cant for the life of me remember what I used it for. The Hog 30 is designed for bass, so it is clean and has much better bass than the little Pignose. It is over a foot tall, so not as portable as the little one, but has big rechargeable batteries that last a long time, and if what goes in sounds like a lute, what comes out sounds like a lute. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] please edit the message you are replying to
Hi People - I would like to request that when you reply to one point in a long posting you edit the posting to remove the parts that you are not replying to. For example, in Nancy's reply to Ernesto's message she is referring to one comment he made, and I can't find that comment in his long message (or I am not willing to put that much effort into finding it.) Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantiga 292 with Trond and Ernst
This is really lovely http://www.youtube.com/watch?v=x1-vD9dcvssfeature=feedu Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Sally Gardens
Sally Gardens from my book The Magic Lute performed by Trond Bengtson, this is really a wonderful wonderful performance of my arrangement and variation. Thank you so much for posting this Trond. http://www.youtube.com/watch?v=7vgWcrEbIpE Allan www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Duet on Youtube
Dear Friends, Here is Blind Mary performed by with Ernst Stolz and Trond Bengtson. It is from my book of Duets for Lute and Recorder. The recorder part has obviously been put down, but I think it sounds wonderful http://www.youtube.com/watch?v=IXFyS9-qsvgfeature=feedu Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Trond Bengtson
Trond Bengtson has uploaded a couple of very nice videos. One titled A Ronde for Spring which I wrote for Betsy Small (hi Betsy) and Carolan's Lament. You can see them both at the links below. http://www.youtube.com/watch?v=RiWow-E70VA http://www.youtube.com/watch?v=RtLTvPtznjA Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Kilt Thy Coat Maggie
Kilt Thy Coat Maggie played by Trond Bengtson. From my book/cd The Magic Lute. Nice work Trond. http://www.youtube.com/watch?v=m4Wo6URUx8c Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] God Rest Ye Merry....
Beautiful performance of God Rest Ye Merry Gentlemen from my Christmas lute book by Trond Bengtson, there are also many others there from the same Book/cd http://www.youtube.com/watch?v=1mhri4SP3U0 And if you can put up with the guitar, check this out, there are some awesome pictures of MT Lemmon in AZ http://www.youtube.com/watch?v=9AlBNR-0DcQ Allan www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Christmas Luste Youtube
Trond Bengtson has done a beautiful Video of Down in Yon Forest from my Book/CD The Christmas Lute. http://www.youtube.com/user/trolabe#p/u/6/luRYNA9oqpY I wrote the intro which is used throughout the piece and also a variation, Beautiful Playing Trond. You really have put your fingers on the pulse of this piece, Allan Alexander http://www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] My Own True Love
Trond Bengtson has done a very nice Video of my piece, My Own True Love on Youtube http://www.youtube.com/watch?v=W-E0Pa35Eyk Trond is an excellent player and has many videos of lute pieces, and also those for Baroque guitar. My Own True Love is from the Book/CD The Magic Lute. He has also has a video of Heartland Air which I send out via the postal service free to anyone who requests it Allan Alexander www.guitarandlute.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
For the record, the money is that ASCAP and the other agencies collects is also for airplay on the radio, and they both have different ways of the checking what is being played. The money is then distributed to the composers of the music, minus operating fees of course. If you are a composer and register, you receive money for your work Allan Thanks Ron. For the record: In the US: ASCAP, BMI, etc. have managed to get laws passed that require any restaurant, pub / bar, theatre, public building, etc. ad nauseum, that plays any kind of music whatsoever in it's building(s), to pay them an annual fee for the privilege of playing said music. Businesses cannot operate (legally) without paying these fees. These fees are hundreds of dollars per year per business, multiplied by how many restaurants, etc. in the US?? This supposedly covers the singing of Happy Birthday at a party, the playing of 1001 Strings doing In My Life, etc., etc. It's a racket (or is that raquet?). So - when you sing Hey Jude or Why Don't We Do It In The Road? in the mens' room, it's covered ... at least in the US. No worries ; 0) Tom IMHO A lute-tablature transcription will not convince a judge that it is a copy of modern printed sheet-music. He will compare the two and say, 'It looks nothing like it'. Case dismissed. How will a public performance be judged in court against a copyrighted song? Will the judge listen to the lute-player and the infringed recording in court? Simply whistling tunes whilst walking down the street will infringe copyrights. - Mind you, I have heard some whistlers that want locking up! IMHO Copyrighted music should ONLY require the owner's approval when a recording is made to be marketed, not before. Public performance alone will not count. This would remove all the stupid bureaucracy. Best Wishes Ron UK -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Guitar Lute Sent: Thursday, October 21, 2010 12:30 PM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: In My Life Copyright Issue What is Copyright Infringement? Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner. See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner. See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner. See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] New Law
Lets just pass a law that says after we make millions, it's ok for people to steal from us, it would be a better world then. http://www.starvingtheartist.com/ Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Interesting Story about Copyright
Since people have sent some links, here is one for you all to read. http://www.jasonrobertbrown.com/weblog/2010/06/fighting_with_teenagers _a_copy.php Allan www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Posted On Web
Probably pointless to point out that this is copywritten material. The melody that is, and it's illegal to post this. Allan well done! thank you! Thomas Am 20.10.2010 20:30, schrieb t...@heartistrymusic.com: Here is a link to my website where I have posted my transcription of In My Life by John Lennon in PDF, MIDI, and Fronimo 3 Enjoy, Tom Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Re: In My Life Copyright Issue
Hi Tom, It is illegal. Doesn't matter if you are selling it. there are plenty of people giving my things away. go check with a copyright lawyer, and if you really don't think it's illegal, ASK THE OWNER OF THE COPYRIGHT. That is how things are done. It's not a grey area, it's just a self serving point of view. I always find these self serving rationalizations humorous. Allan Probably pointless to point out that this is copywritten material. The melody that is, and it's illegal to post this. Allan Thanks Allan, I don't believe this is illegal for the following reasons: Yes, it IS a copyrighted melody, but I'm not selling it. Neither am I recording it, nor selling a sound recording containing it, nor reproducing an existing version of it that is already copyrighted. At any rate, if the agency that administers the copyright on this song sees fit, they can send me a cease and desist notification, and I will promptly remove it from my webpage. This is one of those grey areas of copyright law, primarily because it is not being sold. Certainly less onerous than people posting copyrighted sound recordings on YouTube with their videos. I'm not a copyright lawyer, but I don't think that I'm causing the owner of this copyright (Michael Jackson's estate? or Sir Paul?) to lose any royalties. I would never pirate music. So, I'll keep it posted 'til I hear from a lawyer. Thanks for your concern. In the meantime, Enjoy! Tom well done! thank you! Thomas Am 20.10.2010 20:30, schrieb t...@heartistrymusic.com: Here is a link to my website where I have posted my transcription of In My Life by John Lennon in PDF, MIDI, and Fronimo 3 Enjoy, Tom Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 www.guitarandlute.com www.mandolinandguitar.com www.fluteandguitar.com
[LUTE] Re: Looking for ...
These Scots pieces can be a lot of fun to flesh out, you can hear 4 of them played as a medley for lute and renaissance guitar at http://www.pantagruel.de/listen.html It is the last Mp3 on the page entitled I met her in the medowe. All the best Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Eugene C. Braig IV Gesendet: Donnerstag, 7. Januar 2010 00:56 An: 'Valéry Sauvage'; 'Stephen Fryer' Cc: 'Lute Net' Betreff: [LUTE] Re: Looking for ... I'm pretty certain the Mel Bay publication is an effort to capture what Ronn actual performed on the Dorian disc, divisions, ornamented repeats, and all. Since the source is dominated by simple melody statements, it really needs a little fleshing to make interesting performance material. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Valéry Sauvage Sent: Tuesday, January 05, 2010 4:54 AM To: 'Stephen Fryer'; 'Eugene C. Braig IV' Cc: 'Lute Net' Subject: [LUTE] Re: Looking for ... Here is a link to a pdf of the Straloch (a copy was given to me by a lutenist in 1985... so as it is not published, enjoy !) http://www.mediafire.com/?mzjndtjq2yj About differences of the piece we were talking about, look for A daunce page 16, other version of the same tune. Valéry -Message d'origine- De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part de Stephen Fryer Envoyé : mardi 5 janvier 2010 01:27 À : Eugene C. Braig IV Cc : 'Lute Net' Objet : [LUTE] Re: Looking for ... Eugene C. Braig IV wrote: I'm not certain, but I believe it is contained in this publication: http://openlibrary.org/b/OL11085910M/Mel_Bay_Scottish_Lute I can check my own copy when home. Thanks Eugene. Last time I'd looked (a couple of years ago after taking Ronn's class on Scottish Lute) it was out of print and I couldn't find a copy. I looks like it is available again so I'll get a copy (I already have volume 2). Not only that but you can preview it at Amazon.com. Interestingly there seem to be some differences (besides Ronn's variations) between this publication and what Valérie sent. Stephen Fryer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Liuto forte
The text was used for a performance at a lute festival in Belgium. As you admit it does sound silly, there is no evidence that Bach wrote 6 suites for the lute, even that he was so very interested in the lute. I am sure a lot of lutenists would love to think he was, but it does not seem to have interested him a great deal. But maybe he could see into the future and wanted to write for an instrument that was invented a few hundred years lateror maybe the liuto forte is not a new instrument, but an idea stolen from the 18th century. There are also a number of modern performances on dminor baroque lute so they do not seem to be unplayable. All the best Mark p.S. Here is EB's programme presenting the reconstructed 6 suites Johann Sebastian BACH: suite BWV 995 prélude, allemande, courante, sarabande, gavottes 1 et 2, gigue. Joaquin RODRIGO: Sarabande lointaine. Johann Sebastian BACH: suite BWV 999 (reconstitution É. Bellocq) prélude, fugue, sarabande, menuets 1, 2 et 3. Yuquijiro YOCOH: Sakura, thème et variations sur la chanson traditionnelle japonaise. Johann Sebastian BACH: suite BWV 998 prélude, fugue et allegro. Johann Sebastian BACH: suite BWV 996 prélude, allemande, courante, sarabande, bourrée, gigue. Wolfgang Amadeus MOZART: larghetto du Divertimento KV 439b nº2. Johann Sebastian BACH: suite BWV 997 prélude, fugue, sarabande, gigue et double. DEBUSSY: La fille aux cheveux de lin. Johann Sebastian BACH: suite BWV 1006a prélude, loure, gavotte en rondeau, menuets 1 et 2, bourrée, gigue. -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Franz Mechsner Gesendet: Montag, 21. Dezember 2009 17:09 An: Mark Wheeler; Sauvage Valéry; lute Betreff: [LUTE] Re: Liuto forte Dear Mark, where did you get Eric Bellocq's promotion text from? It sounds indeed a little silly - but given how much work he semed to have invested in research on Bach suites, and finally playing them in ABs (?) tuning, one should do him justice before ridiculing him and make sure what's the matter with this text... not everything is what it seems to be... F __ Von: lute-...@cs.dartmouth.edu im Auftrag von Mark Wheeler Gesendet: So 20.12.2009 16:27 An: 'Sauvage Valery'; lute Betreff: [LUTE] Re: Liuto forte Well if you find playing a guitar in form of a lute saying it is a lute strange then have a look at this promotion text from the same lutenist.. It is assumed that Bach, just as for the violin and the cello, composed six solo suites for lute. But only a few of these incredibly difficult lute compositions have been preserved. Eric Bellocq accepted the challenge and reconstructed a complete suite cycle. For this purpose, he had a `luito forte' built, which all of a sudden makes these compositions quite playable! Who assumes that there are 6 solo suites for lute, where is the evidence? All of the surviving Bach compositions or arrangements have been recorded many times, so they are playable on a standard baroque lute. Eric's text is of course absolute hogwash, but it is the sort of thing that some classical promoters probably lap up, not surprising considering that huge portions of the mega-narrative of classical music dreamed up in the 19th century is equally ridiculous. But wasn't one of the aims of the early music movement to try to get beyond these assumptions and myths. Mark -Urspruengliche Nachricht- Von: lute-...@cs.dartmouth.edu [[1]mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Sauvage Valery Gesendet: Sonntag, 20. Dezember 2009 15:58 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Liuto forte I'm not against guitar and guitar players (as a guitar player myself, on romantic intrument ;-) but I don't understand why play a guitar in form of a lute saying it is a lute, as I find my normal lute forte enough in itself, that's all. And after, eveyone makes whatever he wants... V. - Original Message - From: terli...@aol.com To: lute@cs.dartmouth.edu Sent: Sunday, December 20, 2009 3:30 PM Subject: [LUTE] Re: Liuto forte -Original Message- From: terli...@aol.com To: chriswi...@yahoo.com Sent: Sun, Dec 20, 2009 9:22 am Subject: Re: [LUTE] Re: Liuto forte I write at the risk of being gummed to death by a horde of irate lutenists: I don't know what kind of guitars and guitar playing lutenists here have been exposed to here but there is a wide variety of types of guitars and playing styles. Hauser style guitar guitars are very good for playing some lute music. Smallman type guitars are less good for playing most lute music. To play lute music decently on guitar takes a certain touch
[LUTE] Re: another day at the office
Or maybe a cittern? Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 12:43 An: tio...@gmail.com Cc: Lutelist Betreff: [LUTE] Re: another day at the office That is interesting becuase if it just says chitarra it may not refer to the 5-course guitar but rather to the 4-course mandora or possibly even the chitarrone. But that is perhaps another story. Monica - Original Message - From: tio...@gmail.com Cc: Lutelist lute@cs.dartmouth.edu Sent: Saturday, December 19, 2009 9:02 AM Subject: [LUTE] Re: another day at the office - Original Message - From: tio...@gmail.com What you think about the Cantabo Domino by Paolo Quagliati, (printed in Fabio Costantini, Scelta di mottetti [...] libro secondo, Roma, Robletti 1618) where we have 2 pentagrams for the chitarra? I made a mistake: there's just a continuo part in bass clef for the chitarra. No letters. The organ part is printed on two pentagrams (lines): the bass part and the highest voice of the vocal ensembe. It's the only exemple I know, at least for sacred music. Diego __ Information from ESET NOD32 Antivirus, version of virus signature database 4699 (20091218) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: another day at the office
The cittern is certainly one of the most overlooked instrument in the early music world today. Italian citterns seemed to nearly always have more than 4 courses. And Monteverdi did mention it (in its theorboed form) in the scoring for Orfeo, so it has more of a Monteverdi link than Baroque guitar. Also its social position had not lowered at this point, it was only later in the 17th century that this happened. So there would have been no problem in using it in a church. All the best Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 17:55 An: lute Cc: Lutelist Betreff: [LUTE] Re: another day at the office Why not? We tend to overlook this lovely instrument - but surely there were a lot of them around - and with more than 4 courses if I remember aright. Monica - Original Message - From: lute l...@pantagruel.de To: 'Monica Hall' mjlh...@tiscali.co.uk; tio...@gmail.com Cc: 'Lutelist' lute@cs.dartmouth.edu Sent: Saturday, December 19, 2009 4:51 PM Subject: AW: [LUTE] Re: another day at the office Or maybe a cittern? Mark -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Monica Hall Gesendet: Samstag, 19. Dezember 2009 12:43 An: tio...@gmail.com Cc: Lutelist Betreff: [LUTE] Re: another day at the office That is interesting becuase if it just says chitarra it may not refer to the 5-course guitar but rather to the 4-course mandora or possibly even the chitarrone. But that is perhaps another story. Monica - Original Message - From: tio...@gmail.com Cc: Lutelist lute@cs.dartmouth.edu Sent: Saturday, December 19, 2009 9:02 AM Subject: [LUTE] Re: another day at the office - Original Message - From: tio...@gmail.com What you think about the Cantabo Domino by Paolo Quagliati, (printed in Fabio Costantini, Scelta di mottetti [...] libro secondo, Roma, Robletti 1618) where we have 2 pentagrams for the chitarra? I made a mistake: there's just a continuo part in bass clef for the chitarra. No letters. The organ part is printed on two pentagrams (lines): the bass part and the highest voice of the vocal ensembe. It's the only exemple I know, at least for sacred music. Diego __ Information from ESET NOD32 Antivirus, version of virus signature database 4699 (20091218) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Danish Renaisance (Lute) Music
Is anybody aware of any specifically Danish lute music or with strong links to the Danish court. Dowland and Robinson famously worked at the Danish court, but are there any lists of all the musicians who worked there? It seems a great deal of the music and records from renaissance Denmark seems to have been lost in the 1728 fire that consumed Copenhagen. I am also interested in any keyboard sources from the period and secular Danish vocal music sources. Would greatly appreciate any help All the best Mark Wheeler www.pantagruel.de -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von David van Ooijen Gesendet: Dienstag, 1. Dezember 2009 23:27 An: lutelist Net Betreff: [LUTE] Re: Terminology: brise On Tue, Dec 1, 2009 at 8:56 PM, Jaroslaw Lipski jaroslawlip...@wp.pl wrote: Aha, so obviously if it was commonly in use by people writing about the music there must be a lot of books prior to 1928 mentioning that term. Could you list just a few, please? Are you addressing me? These were not my words, so you'd better contact L. de La Laurencie (medium, anyone?), who wrote in 1928: 'ce qu'on appelé le style brisé des Gaultier'. But given the limited context (this is all Ledbetter quotes from La Laurencie) one could read that in various ways, I suppose. But is it interesting, really? Ledbetter writes he believes style brisé is a modern term and gives a definition of the term that is useful in the context of his book. The term as used today seems to be understood in a similar way. So it is a useful term still. If the term is limited to express what you want to say, define a new term, or find an old one which covers your idea better. If anyone can find an earlier reference to it than 1928, we're all looking forward to hearing about it, but will it change anything? Unless a 17th century definition is dug up, of course. Now that would be really interesting. David - loves style brisé and could transmit some of that love and understanding to a pupil playing Ballard today :-) - Original Message - From: David van Ooijen davidvanooi...@gmail.com To: lute@cs.dartmouth.edu Sent: Tuesday, December 01, 2009 12:25 PM Subject: [LUTE] Re: Terminology: brise gives 1928 as the earliest source he found for the term style brisé, although in that source (L= To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: video ratings
Dear David, You seemed to have missed MySpace. All the best Mark www.myspace.com/pantagruelian -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 15. Februar 2008 00:22 An: lute-cs.dartmouth.edu Betreff: [LUTE] video ratings Time for the six month review and ratings for sites that host video, specially geared to the lute and its unique sound. Ratings involve sound, video quality, ease of use, statistics counters, and the abilty to embed the code in a web page, so you can make your own video pages, or use the video easily on blogs. In addition, especially important for longer lutes, widescreen options are considered. The winners: ** youtube: The 800 kilo gorilla. Attracts the most audience. Pros: none, except name recognition. Cons: this is older tech that was poor for music to begin with. The audio codecs have even gotten worse, and they were not great to start with. Buggy window aperture resizing--makes things look squished for no reason. Grainy video. The tech will probably be updated, but for now it is pretty soggy. The code can be embedded, but there are better options. ** google: same as above: easy to find; hard on the ears vimeo: This is the place to start. In addition to video and audio that is superior to youtube, vimeo offers 720p higher def (not true high def) which is a vast improvement. The integration into the flash streaming model is very good, giving to end user lots of viewing options. In addition, true widescreen with freely resizeable windows is available. This is a huge plus in designing websites. H264 codecs are supported, along with the usual ones. User interface is good on both ends. Finally, vimeo makes the entire file available for high definition viewing from your hard drive for the best possible viewing experience. (Use the VLC player intstead of quicktime) Here are some medium definition videos on Vimeo, you can compare it to youtube http://www.vimeo.com/690338 http://www.vimeo.com/691700 Cons: Although the embedding features are superb, you only get High definition from the website. Embedded video is standard definition. Nonetheless, the SD is very good, and you can link through to the site. HD embedded will arrive as an upgrade at some point. Stage6 Stage6 has the best quality, period. The downside is that if you upload a big file, playback can be slow. Embedding options do not work well. Nonetheless, if you record your audio separately, you can post it in CD quality, or very high bitrate MP3--either way, it will sound much better, and it will be in rock solid stereo instead of mono. Stage6 also allows you to download the file for home playback :). Lastly, Stage6 accepts true high def, but the viewer would have to download it, since streaming is not that reliable. Cons: High bandwidth, buggy uploads. Ifilm Ifilm has both good video and sound, but it does not embed widescreen properly. This was one of the best choices till vimeo upgraded their flash engines. Best of luck and happy video. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tombeau de du But
Dear Rob, Thanks fort the Mp3, enjoyed listening to that. I see that you have changed your stringing, would be interesting to know the background to that. All the best Mark -Ursprüngliche Nachricht- Von: Rob MacKillop [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 12. Februar 2008 11:54 An: Lute List Betreff: [LUTE] Tombeau de du But I'd like to thank all those people who have written to me over the last couple of weeks enquiring about my arm. I'm happy to report that it feels 100 per cent fine. However, I'm not rushing back into playing for as many hours as I can cram into the day, and restricting myself to half an hour in the morning and the same in the evening. This morning I managed to record on my Martin Shepherd 11c the beautiful 'Tombeau de du But' by Robert de Visee. I think someone else on this list asked the question: did anyone ever write a bad tombeau? I don't think so. It seemed to bring out the best in them. This one is very moving, and I hope you enjoy listening to it. I consider it a 'work in progress' recording. You can find it just above the photo of me holding the lute near the bottom of this page: http://www.rmguitar.info/Maler.htm Cheers, Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: How About A Lute-Care Handbook?
David van Edwards wrote a short guide to taking care of your lute - published by The Lute Society. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: piece of the month revived
Hi Martin, I personally prefer a bit of reverb, but admit it is a difficult thing to get right without spending thousands on a professional system. I think your recordings with reverb sound better - better separation, and more of the instrument's resonance comes through. Nice playing, again. Your website is waking up! Just my tuppenceworth. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: piece of the month revived
Dear Martin, a couple of years ago a harpsichord player mentioned to me that the Elizabethan name for the piece we are talking about - The Spanish Pavan came from it being introduced to English musicians by Antonio Cabezón when he visited England in 1554-1555. He published the piece in one of his keyboard collections under the title Pavana italiana to confuse matters even more. I have no idea if this is a myth or can be backed up by any evidence. All the best Mark -Ursprüngliche Nachricht- Von: Martin Shepherd [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 8. Februar 2008 23:54 An: Are Vidar Boye Hansen; Lute Net Betreff: [LUTE] Re: piece of the month revived Dear Are, I'm not sure about the origins of the Spanish Pavan - I know there is an article by Diana Poulton in the LSJ 1961 but have not had time to look it up. It seems almost like a ground bass, rather than a tune, but as with so many other pieces, it is hard to draw a line between the two. I will delve some more into the archives Best wishes, Martin Are Vidar Boye Hansen wrote: Is it possible that the Spanish Pavan actually is a spanish vihuela piece? Are Dear All, I have revived the Piece of the Month feature on my site. It now includes MP3 files. No reverb added this time - compare them with the files on my recordings page and let me know which you prefer: www.luteshop.co.uk/month/pieceofthemonth.htm www.luteshop.co.uk/recordings.html Best wishes, Martin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pittoni's theorbo?
Don't believe everything you read on the lute net. Now you tell me! Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Tiorbino - surprising new evidence
I had a very pleasant evening on Saturday with my harpsichord-making friend, Grant O'Brien, and his friends, including a short recital on one of his harpsichords by Lucy Carolan, a first-rate player. Grant and I got to talking about lute and harpsichord making in Italy, and he revealed a couple of interesting points: 1. all Italian harpsichords had fir soundboards, not spruce, as found north of the Alps. Did I know of any fir-soundboarded lutes? Well, I didn't. Can anyone contribute something here? 2. the tiorbino: here is a fascinating article from Grant's website, discussing a keyboard instrument called the tiorbino, apparently gut-strung, like the lautenclavier: http://www.claviantica.com/Publications_files/The_Tiorbino/The_tiorbino.htm - I love the part where a buyer asks the maker to build another one if the first one goes out of tune! A great idea, albeit somewhat expensive... Although these are keyboard topics, I'm sure they will be of interest to some here. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino - surprising new evidence
Diego, did you read the essay? Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tiorbino - surprising new evidence
Yes, Diego, what is the introduction by Castaldi left out of the Minkoff print? Rob -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: recordings page
Martin, that is very beautiful, and a much better recorded sound than you had sent me before. The gut sounds great, great separation, nice singing treble and mellifluous bass. And your playing is excellent too. I couldn't detect any edits - sounds like single takes. Well done. How many luthiers can play THAT well?! Rob www.rmguitar.info -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] communication problems
I've created a different email account with google. Please let me know if this gets sent your spam folder, or otherwise. Sorry about all this, but I'm not the only one having problems with this list. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: communication problems
Great. No-one else need respond. Rob On 01/02/2008, Manolo Laguillo [EMAIL PROTECTED] wrote: Rob, this one went through, no problem! Manolo Rob Lute wrote: I've created a different email account with google. Please let me know if this gets sent your spam folder, or otherwise. Sorry about all this, but I'm not the only one having problems with this list. Rob MacKillop -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- --
[LUTE] Re: Playing in time (olim Polish, anyone?)
Dear Roman I also know a lot of people who say the same thing here in Germany, but most of them have you on their spam list :) Keep smiling Mark -Ursprüngliche Nachricht- Von: howard posner [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 1. Februar 2008 20:50 An: Lute Net Betreff: [LUTE] Re: Playing in time (olim Polish, anyone?) On Feb 1, 2008, at 11:43 AM, Roman Turovsky wrote: Well, in that case we should level the same charges against Hoppy Smith, who both keeps country time and alters the performing material. RT Yes, we should. SAM Has anyone, ever? RT Oh! Oh! Over here! I have! I have! Right on this list! Do I get a prize? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov...
You are of course aware that the sound is playback and probably not played on the instrument used in the video. The first note is an Eb, so the instrument is in Eb or he has transposed the piece. Also the images are almost never in sync with the music. All the best Mark -Ursprüngliche Nachricht- Von: G. Crona [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 19:30 An: Lutelist; Roman Turovsky Betreff: [LUTE] Re: Karamazov... Great perfirmance indeed! Very evocative and affektiert. Don't know if the archlute (thankfully double coursed) is something Dowland would have played on, but it sounded great. Short nails on RH. Combination of TI - TO. Lots of changes of RH position and holding of the lute, which makes the clip dramatic, but also gives different sound colours and livens it up. Powerful playing. One of the top music-YTs I've seen so far cineastically (and perhaps even soundwise - at least its in sync!). Karamazov proves himself here after all that undeserved critisism G. PS. So Michael wasn't so far of with his cello-support anyway eh? - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Thursday, January 24, 2008 6:57 PM Subject: [LUTE] Karamazov... http://fr.youtube.com/watch?v=rVWvfnGpF-Y 'nuf said... RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov...
Hi Roman, You seem to be back in your old ways. Trying to cover up facts that are not so comfortable for your edifying viewpoint. The video is not live, the first note is Eb and the video is out of sync. These may be unbearable facts for you, but thats life. But thanks again for the link, it is always good to have a benchmark for how not to do something Stay Clean Mark -Ursprüngliche Nachricht- Von: Roman Turovsky [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 20:23 An: G. Crona; Lute; 'Lutelist' Betreff: Re: [LUTE] Re: Karamazov... Edin was just moving his hands in sync with Nigel North soundtrack, yeah, that's right. No, actually it was overdubbed on a synthetiser! Yeah, that's right. MArk, you remind me of a medieval English poem that goes something like (not verbatim, after 20 or so years): Whoever after crappinge not wipeth his arse clean On his breeches it will seene. RT - Original Message - From: G. Crona [EMAIL PROTECTED] To: Lute [EMAIL PROTECTED]; 'Lutelist' lute@cs.dartmouth.edu; 'Roman Turovsky' [EMAIL PROTECTED] Sent: Thursday, January 24, 2008 2:13 PM Subject: [LUTE] Re: Karamazov... Yeah Mark, on the second scrutinous look after posting I noticed that. But when you shut your eyes and just listen to the soundtrack, you get a feeling that K tries to bring across a bit of the drama and power of this top 10 Dowland piece. For that I salute him. Taking the liberty to substitute the last chord is of course questionable in spite of the drama. G. - Original Message - From: Lute [EMAIL PROTECTED] To: 'G. Crona' [EMAIL PROTECTED]; 'Lutelist' lute@cs.dartmouth.edu; 'Roman Turovsky' [EMAIL PROTECTED] Sent: Thursday, January 24, 2008 8:00 PM Subject: AW: [LUTE] Re: Karamazov... You are of course aware that the sound is playback and probably not played on the instrument used in the video. The first note is an Eb, so the instrument is in Eb or he has transposed the piece. Also the images are almost never in sync with the music. All the best Mark -Ursprüngliche Nachricht- Von: G. Crona [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 19:30 An: Lutelist; Roman Turovsky Betreff: [LUTE] Re: Karamazov... Great perfirmance indeed! Very evocative and affektiert. Don't know if the archlute (thankfully double coursed) is something Dowland would have played on, but it sounded great. Short nails on RH. Combination of TI - TO. Lots of changes of RH position and holding of the lute, which makes the clip dramatic, but also gives different sound colours and livens it up. Powerful playing. One of the top music-YTs I've seen so far cineastically (and perhaps even soundwise - at least its in sync!). Karamazov proves himself here after all that undeserved critisism G. PS. So Michael wasn't so far of with his cello-support anyway eh? - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Thursday, January 24, 2008 6:57 PM Subject: [LUTE] Karamazov... http://fr.youtube.com/watch?v=rVWvfnGpF-Y 'nuf said... RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov
Hi Dante, You are absolutely right, I personally have no problem with him changing the last chord, I also would not do it, but if he wants to why not. There is probably nothing more un-HIP than not daring to stray from the written page. Playing exactly what is written is more a romantic or modern classical point of view. It would still be interesting to know if the piece was transposed or playing on an Eb lute. The video is playback and not just because it is out of sync. I personally find this kind of classical playback video mostly pretty unconvincing. But if there is an audience for it out there All the best Mark -Ursprüngliche Nachricht- Von: Dante Ferrara [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 24. Januar 2008 21:34 An: Lutelist Cc: Lutelist Betreff: [LUTE] Karamazov My, my. We are an overheated lot tonight! Yes, the final chord sounds a bit strange and out of place, but if that's how Edin wants to play it, well fine by me. I wouldn't, he would. As none of us has ever met Dowland, we'll never know whether he thwacked his strings harshly near the bridge for effect or gently picked the strings near the neck joint for a different effect. And who are we to say that everything should be played straight, identical in attack, tone quality and the rest? Reading between the lines, I reckon there are some lutenists who think every lute tune between 1500 and 1700 was played without a shred of humour or personality. Imagine two hundred years of a Europe-ful of lutenists, none daring to stray from the written page. Come on, lighten up! Let me diffuse the tension by offering my short videos... http://www.youtube.com/DanteFerrara DF To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] The End of Early Music A new book on period performance
Dear Lutenetters, Maybe a bit OT, but I think probably of interest to most of us here is a new book by the Oboist Bruce Haynes called The End of Early Music. I have just finally just got round to having a look at it and it is a fascinating read particularly being published 20 years after Nicolas Kenyon's Authenticity and Early Music. Here is a review from Opera Today.com that gives a good idea of what it is about. http://www.operatoday.com/content/2007/10/haynes_the_end.php Once upon a time, there was something known as http://en.wikipedia.org/wiki/Early_music early music. This was not so much a repertoire, a musico-historical epoch, as an attitude, a counter-cultural group. There was classical music, the boring old standard-repertoire taught at conservatories, and played in the same old way by people who fetishized the lineage of their teachers, and their teacher's teachers, and then there was early music, the music of Bach and his predecessors, played by amateur performers (often musicologists) on old instruments (recorder, harpsichords, viola da gamba), something which fit right in with the reclaiming of folk music and folk instruments by the hippie resistance to manufactured mass culture. At the same time Albert Ayler and John Coltrane were exploring the outer limits of free jazz, and Jefferson Airplane combining psychedelics and folk-rock, amateur ensembles with krummhorns, sackbuts, shawms, and other dead instruments were reviving centuries of forgotten repertoire from Machaut onwards. Early music managed to be cutting edge by going deep into music which had been only of interest to historians, and transgressive by suggesting that this music and the music which followed did not belong only to its self-anointed priesthood, which seemed to be only mumbling half-understood inherited formulas, with no sense of the enlivening spirit within. Time passes, and nothing from 1967 seems very current anymore, with the possible exception of Purple Haze http://en.wikipedia.org/wiki/Purple_Haze . The amateur (and hippie) tinge to early music was washed away by decades of musicians who managed to perform early music professionally on period instruments, and with an historical awareness of the performance issues involved. Their success drew the barbed words of musicologist Richard http://en.wikipedia.org/wiki/Richard_Taruskin Taruskin, himself once an amateur performing-musicologist, pointing out the lack of authenticity involved in this recuperation of both unknown and well-known repertoire. The End of Early Music may be seen as a response to the criticisms of Taruskin and others. Oboist Bruce Haynes is one who has been involved with historically-informed performance for decades, since the first successes of four or five decades ago, and unlike the younger Taruskin, whose recordings are safely entombed on LP in music libraries, his recordings are still commercially available. His survey of the history and issues involved with period performance is compulsively readable. Though the volume has the standard scholarly apparatus of notes and bibliography, there is nothing of the dry-as-dust scholarly compendium about it. An innovation which is particularly useful is the provision of sound examples at the publisher's site, even if means that the book can be best used with your network-enabled computer close at hand. The notion that concert-going has become a secular ritual substituting for more explicitly religious rites has become widely accepted, but Haynes goes farther in looking at the amount of fetishism and ritual involved in musical interpretation and consumption in general, disassembling the various fetishes we take for granted as part of musical experiences - the notion of the canon, of absolute music, of genius, of score-fidelity, and others. Evidently I sympathize with Haynes' position, but even so I think it must be clear to any reader that he has done his work well. All the best Mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [OT] Stringplay
Thanks for finding that, Julian Bream is simply amazing, I must get that DVD. I met him once and he has simply so much attitude. Have a look at im playing jazz here http://www.youtube.com/watch?v=ti219aV6oLg All the best Mark -Ursprüngliche Nachricht- Von: G. Crona [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 8. Januar 2008 23:18 An: Lute@cs.dartmouth.edu Betreff: [LUTE] [OT] Stringplay This is not for those faint at heart! http://www.youtube.com/watch?v=JbH4BD1YMnE G. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007
If you read the blog a bit further it seems that Sting is probably not the best selling classical CD of the year that is in fact the The Baby Einstein Music Box Orchestra who are the top selling budget and mid-price artists. I think Sting fits in quite nicely there; maybe they should work together :) All the best Mark www.pantagruel.de www.myspace.com/pantagruelian www.pantablog.pantagruel.de -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 02:40 An: lute-cs.dartmouth.edu Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 Lorraine Hunt was one of the great ones. Listening to her sing, you would usually lose your place in the music. Some of her archive material from years ago is being remastered and released for the first time. Good for Sting, BTW. and bees have Sting, although they be not great A great instance of the collective plural. dt At 05:33 PM 12/22/2007, you wrote: http://www.classicalmusicnews.ru/english/recordings/Sting-s-John-Dowland-Di sc-Tops-Billboard-Year-End-Classical-Chart-for-Second-YearLorraine-Hunt-Lieb erson-Is-Fifth-for-2007/ RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting's John Dowland shot down in flames.....
Dear Roman, I am sorry you seem to have mistaken me for someone else. I think the man you are looking for is on this video http://youtube.com/watch?v=KZm0RBoZwrs Maybe he can get together with Andre Rieu and they can have a billboard charts hit together. I have just had a look at the wikepedia page of this artist and I don't see to see any mention of his cabaret past. I think maybe someone should add a link to this video. Mark -Ursprüngliche Nachricht- Von: Roman Turovsky [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 16:48 An: Lute; 'David Tayler'; 'lute-cs.dartmouth.edu' Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 You should propose your SCA clownnade The Yeomen of Penzance to the Billboard. Then see what happens (who knows- it migh be a gargantuan success...). RT From: Lute [EMAIL PROTECTED] If you read the blog a bit further it seems that Sting is probably not the best selling classical CD of the year that is in fact the The Baby Einstein Music Box Orchestra who are the top selling budget and mid-price artists. I think Sting fits in quite nicely there; maybe they should work together :) All the best Mark www.pantagruel.de www.myspace.com/pantagruelian www.pantablog.pantagruel.de -Ursprüngliche Nachricht- Von: David Tayler [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 23. Dezember 2007 02:40 An: lute-cs.dartmouth.edu Betreff: [LUTE] Re: Sting's John Dowland Disc Tops Billboard Year-End Classical Chart for Second Year for 2007 Lorraine Hunt was one of the great ones. Listening to her sing, you would usually lose your place in the music. Some of her archive material from years ago is being remastered and released for the first time. Good for Sting, BTW. and bees have Sting, although they be not great A great instance of the collective plural. dt At 05:33 PM 12/22/2007, you wrote: http://www.classicalmusicnews.ru/english/recordings/Sting-s-John-Dowland-Di sc-Tops-Billboard-Year-End-Classical-Chart-for-Second-YearLorraine-Hunt-Lieb erson-Is-Fifth-for-2007/ RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Personal Awesomeness Index
As far as I know Jimmy Page only ever used the doubleneck live. On the studio version of stairway to heaven, the solo is played on a telecaster and I think the electric 12 string is also a Fender. He also uses the doubleneck live for the Song Remains The Same/Rainsong block because the rain song is in an alternate tuning. Which means he has to play all the solos with lots of string bending in The Song Remains the Same on the 12 string neck. This also means that his roadie had to retune it for Stairway later in the set. Wouldn't it be nice to have a roadie for tuning instruments at lute concerts :) All the best Mark P.S. I saw Alex Lifeson a few weeks ago with Rush, but no doubleneck this time, he only played various Les Pauls (including one with a floyd rose) and an ES335 for the encore. He has said in Interviews he has gone back to just using Gibson guitars, because they have more character than the high tech PRS guitars he had been using in the last few years. -Ursprüngliche Nachricht- Von: Narada [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 18. Dezember 2007 21:18 An: 'David Rastall'; [EMAIL PROTECTED] Cc: Lute@cs.dartmouth.edu Betreff: [LUTE] Re: Personal Awesomeness Index Pagey bought the 6/12 specifically for Stairway to Heaven, seems he had various guitar parts worked out in his head and needed something a bit different. He also plays it on the 'Rain Song'. It's been valued at £50,000 but its more likely to be priceless. Other notable users; John McLaughlin - Mahavishnu Orchestra, Alex Lifeson - Rush and Don Felder - Eagles. They are awkward to play, weigh more than a Les Paul and take on a life of their own if you have the 'neck' selector switch set in the middle so that both sets of pickups are active, really weird harmonics. -Original Message- From: David Rastall [mailto:[EMAIL PROTECTED] Sent: 17 December 2007 22:21 To: [EMAIL PROTECTED] Cc: Lute@cs.dartmouth.edu Subject: [LUTE] Re: Personal Awesomeness Index On Dec 17, 2007, at 4:53 PM, [EMAIL PROTECTED] wrote: Yardbirds using one? Don't know anything about Zeppelins or other UFO's... I don't know if Page was playing the double-necked Gibson with the Yardbirds. It became a trademark of sorts with Led Zeppelin though. Mayall's Bluesbreakers with all its guitar heroes was THE band! :-) No argument there! (well, in my younger ages...) I remember the 60's well enough that I still enjoy listening to that stuff once in a while. David R [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lily song on youtube.... wrong place...
It seems I made an embarrassing mistake; the video was recorded in Brussels and not Antwerp. I have uploaded the new corrected version at... http://myspacetv.com/index.cfm?fuseaction=vids.individualvideoid=20671660 All the best Mark -Ursprüngliche Nachricht- Von: Lute [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 23. Oktober 2007 00:51 An: [EMAIL PROTECTED]; 'David Tayler' Cc: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Lily song on youtube Inspired by this thread and the drudgery of a long train journey I searched through my hard drive and found a Bootleg video that a friend sent us of a performance of Chi passa per sa strada (Filippo Azzaiolo). Not a match for the technical quality of David's video equipment, I messed about with the video until my train brought me safely home http://myspacetv.com/index.cfm?fuseaction=vids.individualvideoid=20608728 All the best Mark P.S The took place in the wonderfull historical setting of the Live at Le Castel de l'Académie de Woluwé-St-Lambert, Antwerp during an event organised by the Belgium Lute Academy in October 2006. -Ursprüngliche Nachricht- Von: G.R. Crona [mailto:[EMAIL PROTECTED] Gesendet: Montag, 22. Oktober 2007 12:06 An: David Tayler Cc: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Lily song on youtube David, I take my hat off to you. This was a delight to behold and is by far the most impressive stuff I've seen on the net so far! Youtube has definitely got some catching up to do. Congratulations! B.R. G. On Wed, 17 Oct 2007 20:26:44 -0700 David Tayler wrote: I've been working the last year or so on developing a system for recording lute concert videos without extra lights-- Lighting is the big challenge for live concerts. I can record now in room lighting without extra gain--concerts are even better. You are invited to see a sample on youtube [1]http://www.youtube.com/watch?v=48B2pdprIDA I'll be posting a hi-resolution version soon with 24 bit sound and hi-definition video. Youtube is, alas, mono only. The high def (1080p) is sharp enough to see all the strings. The youtube is sharp enough to count the musicians :) dt References 1. http://www.youtube.com/watch?v=48B2pdprIDA To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Rép : [LUTE] Re: str ap + glasses
Anthony Hind wrote: [big snips] perhaps your breathing, if you sing at the same time. Catherine Usher also points out that this position may be less easy for women. Actually, Catherine was a rather different empress. . . . -- Caroline Caroline I, Empress of the Known Lute World, Queen of North American Lutopia, Duchess of Elaborate Divisions and Defender of the Authentick Faith To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute / Baroque guitar course at ACADEMIA NAROLENSIS 2006/ POLAND
ACADEMIA NAROLENSIS 2006 7th International Galiciaan Art Workshop Narol 2006 It is for 7th time that Narol Academy workshops take place in Narol, little town situated on the frontier of Europe, among Roztocze's forrests and hills, 10 kilometeres form Polish-Ukrainian border, in the crossing of East and West cultures. Master courses, classes and participants' meetings are held in XVIIIth century palace, being currently rebuilt by Pro Academia Narolense Foundation. More than 200 years ago palace's foundator, count Feliks Antoni Los, has created here artistic school for painters, musicians and actors. Narol Academy continues this tradition. In 2006 we invite 2nd grade music school students as well as students and graduates of music universities who are interested in ancient music. * harpsichord WLADYSLAW KLOSIEWICZ master course italian, french, german and english compositions (XVII - XVIII centuries) * clavichord MARIA ERDMAN basic and advanced courses rennaissance keyboard tabulatures,german baroque keyboard compositions * lute ANTON BIRULA master course lute compositions of XVII and XVIII centuries, teorba - chitarrone, french and german schools, basso continuo. * baroque guitar ANNA KOWALSKA course for guitar players baroque guitar in spanish, french and italian compositions, basso continuo. * lectures SZYMON PACZKOWSKI Conditions of participation: Deadline for the submissions: 15th July 2006 Submissions should be sent on submission form together with money transfer document Please send submission forms to: Fundacja Pro Academia Narolense, Biuro Zarzadu, ul. A.Pluga 3/21, 02-047 Warszawa (with AN2006 note) or by e-mail to: [EMAIL PROTECTED] (with AN2006 topic) Course's cost is 400 PLN (100 EUR) Please transfer money to: 71 1370 1037 1701 4021 3900, Bank BISE S.A., III Oddzial w Warszawie (with AN2006 note) Course's cost does not include accomodation which should be paid separately by participants. Having received submission form organisers will book rooms in a hotel or agrotouristic farm. Please choose the option while filling submission form. Application form: http://narol.free.ngo.pl/an2006_form_PL_ENG.doc Participants should arrive on Sunday, 20th August 2006. Welcome and organisational meeting will take place at 7 PM that day. Address: Narol palace, ul. Palacowa 1/3, 37-610 Narol, podkarpackie province, POLAND. Organisers ensure place for excercising, individual classes, lectures and meetings as well as sightseeing tours in East Roztocze and possibility of participating in Song of our Roots Early Music Festival in Jaroslaw. Welcome! Fundacja Pro Academia Narolense http://narol.free.ngo.pl -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Details
Here is the file. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
