[LUTE] Question Re: octave tuning
The 8 course lute I purchased recently came with octave tuning from the 5th to 8th course. I changed the 5th and 6th course to unison ( keeping the 7th and 8th octave ) because I found that playing any passages on those couses with alternating thumb-index resulted in a dominant sound of the lower string for the thumb and the upper string for the index finger. Since I'm in the process of making the transition from thumb over to thumb under technique, is it possible that as I improve my right hand technique I should be able to play octave stringing with alternating thumb-index and not have one string dominant in sound with the thumb and the other with the index finger? Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Octave tuning
Thank you Mathias, Chris & Martin for your responses to my question re: octave tuning. I perhaps should just add that I do like the sound of the octave tuning - the brightness the upper octave adds to the sound - except when I play a passage with thumb-index. Then the octave jump of every other note in the passage is disturbing to my ear. But I shan't give up on the idea of octave tuning. Before I purchased my current instrument I placed an order for an instrument with Dan Larson and when that arrives (by the end of the year) I will have two instruments so that I can more easily compare such things as ocatave/unison tuning and gut vs synthetic strings. Since I live in an area of the USA off the beaten path of early music, I'm learning what I can from books and the internet and experimentation. The lute-net is a wonderful resource which I will be using a great deal, I suspect. Chris, what you say about thumb over vs thumb under is interesting. It actually seems to me that with thumb under techniques, the thumb and index finger are striking the strings in closer proximity than in thumb over. At least when I was playing thumb over, my thumb was stretched forward a good two inches from where my index finger contacted the string. But then, perhaps I was angling my hand out from the body of the lute more than is commonly done. Martin, I'll go to your site and listen to your recordings - I've already read much of what you've written for the site and have found it very informative. I'm returning to the lute after many years away from it (during which time I concentrated on the cello) and am excited by the prospect of becoming acquainted with it. (Almost all my previous experience with it was with consort, rather than solo music). Since my prior instrument was modeled on a 7 course Hauser instrument, I'm also now getting some sense of what an historical lute is all about. I look forward to eventually trying gut strings. Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] octave tuning
Dana made mention of the issue of size of strings and tension effecting the relative balance of the sound of the octaves. I honestly don't know much yet about this issue - will have to become more familiar with it. Prior to my getting this instrument, it was played by a professional performer. I would assume he knew more about this issue when setting it up. By the way, in responding to posts here, is it generally done by responding to the whoe group rather than the individual sender? Or perhaps it depends upon the post. . . Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Right hand fingerings in Dowland
As I work on The Right Honorable Robert, Earl of Essex, His Galliard (42a. in Diana Poulton's edition of Dowland's works) - and watch some players on youtube - it occurs to me that not only do I have to work on thumb-under technique, but also to rethink the use of fingers in playing passages that I used to use the thumb in quite a bit. The question I have is, how much do we know about Dowland's right hand technique, and how much do we just try to arrive at something that works? For example, in the fourth measure of the second section of the Earl of Essex Galliard, are all the notes on the third string and up covered by the fingers or would the thumb play a part? And in the final section, four and three measures from the end, how active would the thumb be, or is it mostly finger work? Are there editions of Dowland's music where fingerings are more extensively notated? (I notice in the same Poulton edition in "96. An Almand", right hand fingerings are much more in evidence - as are ornaments). Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: octave tuning
Thanks, Dana. That makes sense. Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] The Glogauer Liederbuch
Does anyone know if there is an edition of the Glogauer Liederbuch currently available? A search on the web gives me information about it, but not if it's available. Amazon lists it as out of print and either unavailable or of limited availability. Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Glogauer Liederbuch
Thank you Albert, Jurek, and dt. I will check these sites out and be happy if I can get a digitized copy. It has some excellent music indeed (wonderful for lute plus others, or even for modern instruments, witness Charles Wuorinen's arrangments of six of the pieces for piccolo/flute, clarinet/bass clarinet, violin and cello). Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] The Galliard
Do we know approximately what the tempo of the Galliard was when danced? And what, customarily, is the relationship between that and the tempo when played as a solo instrumental piece? Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Thanks, Chris and Howard - I like your answers. I must admit that my curiosity will not be sufficient to motivate me to learn the dance ( I attended dancing classes in elementary school, and haven't liked dancing since! ) but your reasons for the dance possibly becoming a bit slower are both interesting. Listening to a couple of different performers play Galliards, I have the feeling that they find the fastest tempo at which they can cleanly perform them and let that be the tempo. Ok, I guess, but I still wonder how historically representative. It does occur to me that - in the case of the Earl of Essex Galliard - since it's an instrumental setting of the song Can She Excuse My Wrongs, would it be appropriate to play/sing each at about the same tempo? Of course, jumping ahead a few hundred years and listening to Toscannini and then Furtwangler performing Beethoven, one can see that tempos are always going to be relative things. Even in spite of composers' score notations. Thanks for your responses. I'll just keep advancing the metronome until my fingers refuse to follow. . . Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
An Interesting thread on the Galliard, I think. The videos on youtube were enlightening. The jumps within the dance clearly require a tempo not too fast, but also not too slow, to allow the jump to be executed in tempo. Fun to watch, and more intersting than anything we did in dancing class!I would say that if the band is made up of just recorders and percussion (as in one of the videos), there's no practical limit as to how fast the music could be played - only a limit in how fast it could be danced. But the dancers could always modify their steps, I think, to match the tempos of the band. But too slow might be harder to accomodate than too fast; shorter jumps at a fast tempo, yes, but higher jumps at a slow one? Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Franz's delight at finding this site, where "beginners and advanced alike are taken seriously", is shared by me. A relative newcomer myself, I find much of interest here and am equally impressed by the willingness of people of much knowlege and experience to share with others. I would add to Franz, take a look at the website of Martin Shepherd, a member and contributor - [1]www.luteshop.co.uk. (Note: I'm not "plugging" his instruments, which I've not seen or played). He has posted on the site observations concerning the lute and its music that he's learned from his experience and research. Worth reading. Welcome, Franz, and good luck with your lute studies. Ned __ Looking for love this summer? [2]Find it now on AOL Personals. -- References 1. http://www.luteshop.co.uk/ 2. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Thanks for the additional information about the Galliard, Dana. When playing instrumental works based on dances, insight into the nature of the dances helps. Though not being played for dancers, the spirit of the dance needs to be there, I think; an obvious example that comes to mind is the cello suites by Bach, or any other of his dance-based suites. Ned __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Andres Segovia
Well, not such a good imitation, I think. But he was a wonderful guitarist and musician. __ Looking for love this summer? [1]Find it now on AOL Personals. -- References 1. http://personals.aol.com/?ncid=emlcntuslove0003 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Andres Segovia
Martin's point about which lutenists Segovia could have heard in 1965 is a good one. But if he had heard Joseph Iadone (and I'm quite sure he had at least met him) he would have known that his lute imitation was far from reality. They both did, though, share admiration for Hermann Hauser's instruments. Ned __ Can love help you live longer? [1]Find out now. -- References 1. http://personals.aol.com/articles/2009/02/18/longer-lives-through-relationships/?ncid=emlweuslove0001 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Alto lute help
In Robert Lundberg's book "Historical Lute Construction" there is a photograph of 5 lutes (pp.8&9); small-octave, descant, alto, tenor and bass. He lists the tunings for them as being d", a', g', e' & d' respectively. While I always thought of the g' tuning as being a tenor lute, apparently it's an alto lute, and (I think?) the most commonly played. But - somewhat confusingly to me - the string length of the 7 course descant lute is shown as 58.4 cm. This seems close to the string length used by many makers for lutes in g'. The alto lute (by Wendelio Venere) has a string length of 66.7 cm. This seems rather long, (though my Hauser model lute has a string length of 64 cm). My Meadow 8 course (g' tuning) seems comfortable with a string length of about 58 cm. I would think a string length up in the 60's would make much of the solo literature quite difficult to play for anyone without quite large hands. I guess guitarists manage it, but with much narrower necks. Ned __ Can love help you live longer? [1]Find out now. -- References 1. http://personals.aol.com/articles/2009/02/18/longer-lives-through-relationships/?ncid=emlweuslove0001 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Alto lute help
Thanks for that information about Lundberg's book, Howard (that it should not be taken as absolutely authoritative and is sometimes at odds with accepted views) . I knew that he had died before the book had been thoroughly edited and revised where necessary, but did not know the extent to which some of the terminology was still undergoing re-examination. I'll make it a point not to think of my instruments as 'alto' or 'tenor', but simply as lutes in g' tuning. Ned __ Can love help you live longer? [1]Find out now. -- References 1. http://personals.aol.com/articles/2009/02/18/longer-lives-through-relationships/?ncid=emlweuslove0001 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
I'd like to watch David's vimeo, but when I click on the start arrow at bottom left of image, the image becomes black and two bars (as in the "pause" symbol) appear. Clicking on that, brings back the original image. The video does not play. Any ideas about what I'm doing wrong? Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Thank you Ron and David, Oddly, though they take a few minutes to buffer, I was able to view two other vimeos of Dowland works (but still not Can She Excuse). Lovely playing! The archlute used for these works sounds gorgeous. The larger body with so many bass strings must add resonance and richness that would be less on a smaller instrument. I'll download the file for Can She Excuse, David, and view it that way. Again, thanks for the help and for the exquisite playing! Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Thanks for the youtube site. The fates are against me - when I went there the screen told me "An error has occured, please try again later". Well, that's what I'll do. And if that fails, I'll try Vimeo again. I shan't give up!! Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Thanks, Val. I enjoyed that. I don't have that version, only the VLL (and Poulton). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Galliard
Finally got to hear Can She Excuse on youtube, David. Lovely, and the tempo seems quite natural. Look forward to seeing/hearing more of you and your colleagues. ( I don't suppose you could be the same David Tayler who attended the early music workshop at Windham College in Putney, VT in 1969 . . .?). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Thumb-under . . always?
Making the transition from thumb-over to thumb-under technique has been interesting. Holding the lute (without a strap) seems more problematical, but seeing that the thumb and index finger pluck the string in much the same place (unlike thumb-over, at least as I used to use it) seems an advantage - at least from the standpoint of achieving a consistent sound. (Perhaps not always desired, however). But my question has to do with the position of the index finger and thumb after the finger has plucked a note. Adopting the hand position I see illustrated for thumb-under technique, and then striking a string with the thumb, it naturally starts and finishes its stroke behind and under the finger. But then it reflexively returns to its starting position and when the index finger strikes the string, it ends its stroke under and behind the thumb, before returning to its starting position in front of the thumb. Is this natural for this technique? Or does this depend upon hand size, length of thumb, etc. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thumb-under . . always?
Thank you David, Dan & Morgan, The video of Paul O'Dette is helpful - I had missed that one. Jacob Heringman has, it appears, audio only clips on you tube. But I'll look for Ronn McFarlane's DVD. I happen to like Nigel North's playing very much, but can't tell from his clips on youtube if he plays thumb under, over, or a combination of both. I've sat down with my intstrument, Dave and Dan, and tried your suggestions. They are quite helpful. Primarily, I think I have to think about less finger motion and more forearm motion for single line passages. Paul O'Dette's video does seem to demonstrate this pretty clearly. I would certainly like to work with a teacher, Dan, but that may have to wail until a workshop sometime. The area I live in is remote (150 miles north of the southern-most point of the country). But it is nevertheless a large metropolitan area - 4.4 million residents. Though one can find teachers for almost any discipline, and certainly for almost any musical instrument, lute is (as far as I've been able to determine) an exception. I've made this plug before, but to repeat: I know of a professional guitarist here who has successfully designed his own on-line course of instruction. He has students from all over the world. This seems a natural thing for a lute teacher. Surely there aren't many areas of the world where lutenists have waiting lists for students. But just as surely, there are many areas - such as mine - where there are no lute teachers to be found. I think it's just a matter of time before someone will take this step. In the meantime, I'll be relying on lute-net for technical and musical suggestions. Thanks to all for your generous help. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thumb-under . . always?
Thank you, David. It's interesting that you've discovered these various positions whether by research, exploration of a good bit of both. I have noticed that the lute is very sensitive to variations of right hand position and condition of the skin. (I love the sound I get after taking a shower and my fingers are soft). Thanks for sharing. I have much to think about and experiment with. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Traveling with lute
It's been several years since I've flown, and I'm wondering if there's a safe way to travel with a lute by air. Do any airlines still sell a seat for a musical instrument? Or is there a lute case available that's designed to withstand the abuse flight baggage may encounter? (Having an extra instrument and shipping it ahead is one idea that's occured to me, but someone willing to accept it is needed). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Traveling with lute
Thanks all for your ideas, suggestions, and references. Buying a seat for Sir Lute seems the safest option, though I also like Guy's idea of getting a first class seat. Though perhaps not quite as safe as buying the extra seat and being sure of accomodation for the instrument. (That is, as sure as one can be; you're always at the mercy of the attendants working your flight that day). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Traveling with lute
Thanks again, all, for your ideas on this topic. I'm encouraged to think that safe air travel with a lute is at least possible. And thanks for those photos, Bill. CaseXtreme looks like a viable alternative. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Lessons on YouTube
Hi David, Thank you for putting those demonstrations on you tube. I'm the person who said there's no lute teacher in my area, but have since discovered there is one - David Dolata - at Florida International University. With his duties at the University, he may not have time for regular teaching, however. There may be an option for webcam lessons with someone not local, though. I have watched only your first video, because it is perfectly suited to what I'm primarily working on now. The right hand. An excellent demonstration. I'll be looking at them all. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Power to the Basses
Peter's quest for more power in the basses raises the question in my mind, does using unison tuning rather than ocatave have an effect on power? I haven't tried each on the same lute, so don't know - am just wondering. Peter does mention Paul O'Dette as one with power in the basses; on the recordings I have of his Dowland works he does use unison tuning. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: annotations to lute lessons
Ah, this is the time of day (very early morning) that I would expect most lutenists to enjoy. The near silence, overlayed by the subtle sounds of nature's awakening, are akin to the sounds we strive to coax from our instruments. The power of such sounds lies not in their volume, but in their insistent quietness. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: LSA 2009 Vancouver
Thanks, Stephen, for posting your comments on the Vancouver LSA - and for the photos too. Perhaps some year. . . Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Recording yourself
I've found it helpul to make audio recordings of pieces I'm working on. Now I'd like to add video, which I think would be even more helpful. I could buy a video camera, but am wondering if a webcam would allow me to record directly to - and view on - my computer. Anyone out there doing this, or have ideas on the best procedure? Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recording yourself
Thanks, Sean, but I have a PC (sigh). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recording yourself
Thanks Daniel and Rob - you've given me options and factors to think about and investigate.. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recording yourself
Thanks, David. I have a pretty good DSLR; I hadn't thought about it's movie function, but will check the manual. But no audio, right? Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recording yourself
Thanks Arto. I enjoyed the Ballard. I'll have to see what my Nikon will do. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recording yourself
Thanks again, David. That video on you tube is very clear - entirely adequate, as you say. I have very good audio recording gear, so will check out Samplitude, or other syncing software. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Any hints on how to develop improvisational ability?
Hi Chris, Regarding question 1, I would recommend reading an interview with Paul O'Dette in the most recent issue of Lute Society of Amerca Quaterly (Volume XLIV, No 2). In it, O'Dette is asked what kind of training a person planning a career in lute performing should be looking for. To be sure, he does stress the importance of the ability to improvise, which is taught at least at the conservatory in Basel where he did study. (Of course, he did have the advantage of coming to the lute from having played rock and folk music where he gained experience improvising). So, perhaps it is possible to find courses in improvisation where ever your daughter plans to study. If not in the particular school whe will be studying in, perhaps in a related school. She may need to pick up another instrument for that; but the ability would transfer to the lute. (Does she have any musician friends who play music that requires improvising? Is so, perhaps they would let her join them for sessions where she could pick up some pointers - either on her lute or a guitar). At any rate, if you haven't seen that issue of the Quaterly I would recommend it, since O'Dette talks about other areas of strength a performing lutenist needs to acquire to be professionally proficient. Good luck to your daugher. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Gut strings
So now I have one lute strung in gut (delightful!) and am wondering what folks do with all the extra string hanging from the peg box (I don't wind much on the pegs and simply trim the extra when using synthetic). If gut tends to break (I haven't had it on long enough to know if this is a tendency), the extra may be enough to re-string the same string, so I'm reluctant to trim it off. Do you who use gut trim it, leave it, or wind most of it on the pegs to keep things neater? Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gut strings
Thanks, Dana. The reasons you mentioned are exactly the ones that occur to me for not winding more string than necessary on the pegs. I'll trim and save the trimmings that may be the right size for frets. (Though I'm beginning to think that frets will last a good deal longer than I initially thought they would). Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Edward Martin/who knows?
Though it wasn't meant to be amusing, I got a chuckle out of Rob's response to Omer - really blunt. Coming to this forum from an audio forum, I'm quite used to members responding to others in no-uncertain-terms; to the extent that a moderator occasionally has to step in. But I enjoy the civility of this forum and think Chris has a good point about carrying on critical dialogues off line. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Any hints on how to develop improvisational ability?
In the current (August 31) issue of The New Yorker, Alex Ross has an article called "Taking Liberties: Reviving the art of classical improvisation". He points out that while modern musicians specializing in the Renaissance and the Baroque have been leaders in improvisation, the idea of adding unwritten material to Classical and Romantic works is becoming more common. Perhaps conservatories will begin giving more emphasis to this skill in their curriculae. Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Milan Pavan
A recent thread discussed Milan's Pavan no. 6 from El Maestro, along with a performance by a member here. I missed what site that performance is on. Can someone direct me to it? Thanks, Ned __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: lute lessons delay because of computer woes
Your lute lessons are much apprecieated! Thanks for all your efforts to bring them to us thus far, and our sympathies for the loss of so much data. Have a great tour and I'll look forward to coming installments, whenever you have the time and energy to record and post them. (With luck I'll live long enough to get my thumb to stay 'under' my fingers; an incredibly recalcitrant appendage!). Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
When I first played the lute, back in the early '70s, I essentially played only ensemble music. My technique was quite limited, but I could do well with a single line of part music. And at the early music workshops I attended back then ( headed by a lutenist but for all instruments and voices ), only ensemble music was played by the attending lutenists - or lute songs. No solos. A memorable event for me was spending most of an evening reading through Guillaume Dufay trios with two other lutenists. Of course, the amount of music available as part music is almost limitless, much like the solo music. Ironically, I so enjoyed all this ensemble playing that I thought why limit myself to 'early' music and so took up the cello to play ensemle music (especially string quartets) of later eras. Learning this instrument proved to be a great challenge, and consequently my lute languished unplayed in my closet until recently. Ironically again, I began to think about all the solo music available for the lute - and to lose some motivation to play only etudes and scales when alone on my cello - so out came the lute. Now, I'm working hard at being able to play the solo literature, but would also like to find some players for ensemble music. So. . . . I think the lutenist has the best of both worlds; an almost infinite treasure chest of ensemble music (vocal or instrument non-specific) and also of solo music. And that's not even including continuo playing! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
I guess we were pretty good sight readers, Stuart. I had studed percussion since Jr. High and was playing drums professionally at the time. The other 'lutenists' were very good players - conservatory trained - on their respective modern instruments. So we all did well with the rhythmic complexities. Also, required at the workshop were daily classes in doing exercises from Hindemith's Elementary Training for Musicians. By the time you get into the third or fourth chapter of that, you're having fun with rhythms! As a drummer, it was actually the rhythmic 'interest' characteristic of much early music that initially attracted me. Another memorable evening was spent listening to recorder players trying to read through "Christe Crosse" from T. Morley's "A Plain and Easy Introduction to Music" (if I remember the title correctly). One would have to look to contemporary - or at least modern - musical works to find similar rhythmic complexity, I think. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: French baroque, Lully and theorbo
Congratulations on your research, Aro. I am impressed that - given the challenges of the Renaissance lute - there are players that master that and also go on to master (or at least play very well) the Baroque lute and/or the Theorbo, and others of the family. Different tunings, etc. I don't anticipate getting beyond the Renaissance lute, but perhaps shouldn't close my mind to the possibility. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
I would certainly be interested in some of the "juicy examples" you mention, Stuart. And I will definitley look into Jon Banks - what he has written and what the Lute Society has published. For other "juicy examples" in modern notation (but with some lovely examples of the original notation in the introduction), have you seen (or do you own) "French Secular Music of the Late Fourteenth Century" edited by Willi Apel? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance - not much juice
Thanks, Stuart. Fun stuff! I would say get a couple of other lutes (preferably), or recorders or viols and enjoy yourselves. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Jan Gruter's technique
I find Youtube a good resource for looking at the techniques of various lutenists, and Jan Gruter (no umlaut on my keyboard) impresses with the fluency of his playing (for example Dowland's "A Fancy"). To me it looks like he uses thumb over technique and I wonder if his technique is similar to what those who have researched this issue think Dowland may have used later in his career, when he is said to have adopted a more thumb over technique. I have seen this piece played very well by one of our members with thumb under technique, but the thumb over does seem to make playing the running lines in the treble - using m-i instead of p-i - along with a bass line easier to manage.Of course, it also comes to my mind, that the two techniques inevitably result in a different character; subtle differences in sound and in rhythmic articulation and accentuation. And this leads me to the bigger question of how fluid - how regular in articulation - lute pieces such as this one "should" sound. In essence, I rather wonder if the difficulties imposed by thumb under technique in dealing with trebles and basses together isn't actually an advantage in leading the player to finding the true character of earlier lute music. ( As wonderfuly as guitarist today - and earlier - play, I do find something essential missing from lute music played on that instrument, and it has to do with much more than just sound) Just pondering the issue of right hand technique as I work at it. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Jan Gruter's technique
"What difficulty?" (Ed asks about my reference to thumb-under technique). Perhaps my understanding of this technique is incorrect. But, I think of it as implying the use of p-i for running lines whenever possible. I think of thumb-over as allowing use of m-i whenever desired. So, I think of the person useing thumb over technique as using m-i more than the person using thumb under - at least whenever bass notes are present along with treble ones. So, for example, if a section in 4/4 has 16th notes in the treble throughtout a measure with quarter-note bass notes (see the 5th from the last measure of Dowland's "A Fancy" - number 5 in Poulton's edition) I would approach that (using thumb under) by playing the last three 16th notes of each group of four with i-p-i. My assumption - perhaps not correct - is that the thumb-over player would most likely play those 16th notes i-m-i, keeping the thumb in the bass area ready to play the bass notes. This seems "easier" to me, in that the danger of missing - or not striking cleanly - a bass note is lessened. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Jan Gruter's technique
Thanks for your reply, Howard. I obviously need to look into the differences between these two right hand positions more (though, as someone pointed out, there are really more positions than just these two). But, I am making a basic assumption (based upon a limited amount of reading) that a style of thumb-under technique was in general use before a style of thumb-over technique evolved and became also generally used. Also, that this later style did evolve at the same time that more bass courses were being added to the lute. From that, I've arrived at the assumption that something about the thumb-over style made it easier to deal with the added bass courses. Not that simple, perhaps. . . Might I ask you why you've chosen to use thumb-over as opposed to thumb-under? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Jan Gruter's technique
Thanks again, Howard. Actually knowing history is obviously more useful than making assumptions about it! I appreciate your making me aware of the Spanish connection and migration. That a certain style of playing is more comfortable than another seems to me sufficient reason to adopt it. I think I'm in that no-man's-land where I'm not fully comfortable with the thumb-under style, but have progressed far enough with it that I don't know that I could be comfortable with thumb-over again. Perhaps I'll end up with a compromise between the two! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute lessons - help
Hello Joseph, I hope you'll be able to find a teacher in your area. If not, though, and you want to try going it alone, a good method book is the one by Andrea Damiani (English translation by Doc Rossi). The Boulder Early Music Shop sells it and perhaps some others. It's rather expensive, but very comprehensive. Also, be sure to look at the web site of David van Ooijen: [1]http://www.davidvanooijen.nl/He has posted video lessons based on an elementary book which can be gotten from The Lute Society (England). He clearly demonstrates hand positions and technique. Also, just going to youtube, you will be able to see how some of the good players play. I should add that my suggestions pertain mainly to the Renaissance lute. If you're thinking in tems of a Baroque lute, other books might be more helpful. Best of luck. Ned -- References 1. http://www.davidvanooijen.nl/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute lessons - help
I second all the recommendations that Dana made. First, join the Lute Society of Amercia. Also look for a recorder society or viol society in your area. I attended a local recorder society meeting last weekend to see if there might be some mixed ensembles to join. I had a great afternoon playing trios and quartets and met two recorder players who meet each week to read music in clefs and early notation. They kindly invited me to join them. I read tenor clef on the cello, and used to read alto pretty well on the lute. It will be great to get experience reading these and many of the other clefs on the lute - it opens up a vast range of ensemble music. (For the importance of this, read the interview with Paul O'Dette in the last American Lute Society Journal). Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Newbie needs to know - where buy a lute and what type?
As Chris said, don't give up Luther. I found two very nice instruments on Wayne's list at good prices (I have an instrument on order from Dan Larson). But before I found those instruments, I did a lot of practicing on a guitar using lute technique as best I could from some investigation. Put on a light set of strings and give it a try. I didn't use a capo, but you could to shorten the string length and bring the pitch up g'. This would at least get you going in a lute direction until you find an affordable instrument. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Factories
My first lute - bought around 1965 - was a factory made (German, I think) instrument. It had a molded plastic rose inset into the top, a guitar style bridge and metal frets. Spruce, maple and rosewood, as I remember, were the woods used. Neddless to say, a rather heavy instrument designed for heavy strings. We surely don't need instruments like that any more, but I imagine a factory could turn out more light-weight, historical style, instruments also. But for me - returning to this instrument from the cello - I consider lutes cheap. The two local violin makers that build cellos were asking $12,000 to $15,000 for one of their cellos ten years ago. The luthier who made one of the lutes I bought used for $2400 was asking $25,000 for his violins several years ago. To be able to get a professional quality instrument for $3000 or less (Dan Larson, for one example) is - I think - a bargain. I would add that it has been said - and I agree - a beginning player really should try to get as good an instrument as possible. A properly set up, easy to play, good sounding, reliable instrument will help to encourage his/her efforts. Conversely, a poor quality instrument could well discourage those efforts. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Factories
Point taken, Howard. If the demand for lutes were what it is for violins, I suspect there would be factories turning them out at similar prices to those three to four hundred dollar violins. By the same token, the makers who now charge three to five thousand dollars for their lutes would be able to ask at least fifteen to twenty thousand dollars for them. With apologies to those having little to spend on an instrument, I'm grateful for the relative lack of demand for lutes and the resulting relatively low prices for really fine instruments. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Report about the lute trip to Ticino 2009
Thanks for the report and the pictures, Thomas. It sounds like a good time was had by all in a very lovely setting. Glad to hear too that the concert was a success. Good music, good wine, and congenial people - what could be better? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The reason we play lutes
If the composer's intent was to trigger our memories of sounds in nature - such as flocks of vocal birds and barking dogs - I would say he succeeded (at least in my case). But I prefer the natural sounds. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The reason we play lutes
Yes, 1st bow definitely is a better player than 2nd bow and 3rd bow. But he's also got a much better sounding instrument. Probably from the golden age of styrofoam - the 1940s - and from the Dow Chemical factory. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Looking for lute?
To the guitarist who posted that he's looking for a lute, how about a vihuela? There are two for sale on the dartmouth lutes-for-sale page. A bit over $2000. Affordable? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute and Flute Concert
Thanks for posting the McFarlane & Rosenfield youtube site, DS (were you there?). Really wonderful playing with a great rapport between the two. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Early Music Forums?
Doe anyone here know of an early music forum in the USA? Doing a search, I find several in different areas of England seemingly designed to discuss the early music scene in those specific areas, but none in the USA. Some of the questions/observations I have about the part music I play on the lute relate to more general musical issues, which would be more appropiate on such a forum, I think. Thanks, Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Beethoven Quartets
The Smithson String Quartet (of the Smithsonian Institution) has recorded Op. 18 on original instruments. Very fine playing and very nicely recorded. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute and Flute Concert
"Not only was I there, but it was my house!" Ah, then thanks for not only posting the video, but for recording it (or having it recorded). From what I could see you have a lovely space for presenting concerts. I couldn't help noticing a high-end speaker behind the performers (Martin-Logan?). I love my box speakers, but I do think planar speakers excel at the reproduction of instruments such as the harpsichord and lute, with their plucked transients. Congratulations on your good fortune to be able to enjoy not only well reproduced sound, but live sound as well! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A Viewing
Dan, I did not know David Phillips, but Joseph Iadone was my introduction to the lute. Did you also know him? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The End of the Golden Age
I've not yet put myself playing on line, but rather hope that one day I'll feel confident enough to do so. I doubt that I'll ever have the equipment necessary to edit myself. But I also wonder if I would want to do that. I think now (will my views change?) that if I'm not able to give a presentable performance of a piece without editing, that I would simply wait until I were able to. Thus far, I've assumed that everything I've seen on line has been unedited, and I've been very impressed by these performances. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The End of the Golden Age
"The rockers. . .view an overly-produced-sounding-recording as some kind of inauthentic representation of the genre. . ." Unless a rock recording is from a live performance, this seems to me an ingenuous view. Even on a performance stage, rock musicians are totally reliant on electronic processing for their sound; in a studio the processing is even far greater. If it doesn't sound "slick" to the consumer, it's because the engineers have taken great care to make sure it doesn't. Just my view. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The End of the Golden Age
"Meanwhile, big names in our field try to get everything to sound even". Since my interest in the lute and early music has only recently been re-awakened, most of my lute and early music recordings are from the 1960-70s. As I hear more recent recordings in our field, I'll listen for what Chris is describing. I wonder if the reference is to both ensemble and solo recordings. . . I will say that I have some HIP recordings of Haydn, Mozart and Beethoven works that I don't find bland in the least. Actually, to my ear, some of the most natural sounding recordings that I have. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The End of the Golden Age
Hi Chris, Thanks for bearing with my lack of experience listening to recent EM recordings. I'm intigued by what you say and will be doing more listening. I think that the high cost of getting an orchestra into a studio for recording has resulted in a good thing for later repetoire - more recordings done live. Of course there is still editing, but if the recording is made from only two or three performances, it is necessarily limited. EM being done by smaller ensembles, I guess that the studio is still the main recording venue. And perhaps, as you say, the editing is overdone and leads to sterile performances. (Of course, this 'over' use of editing predates digital, witness Glenn Gould's recordings - which I still find thrilling). There is, too, the problem that many of us don't have the opportunity to hear much EM live. For us - other than our own playing - recordings are our only reference for what the music sounds like. You - and other professional performers - are not under that disadvantage. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Christmas music for R-lute
". . . has to lesson to Christmas songs in the lessons for the coming two months." Our sympathy is with you, David. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: So, what you consider a "must have" publication?
For playing with a second person (a lutenist would be nice) or in ensembles, I wouldn't want to be without Orlandus Lassus, songs without text, opus 13-24 (two parts); Tielman Susato, Dances from 1551 (mostly 4 parts); Petrucci's Harmonice Musices Odhecaton (mostly three or four parts - fun to read in the origianal notation, but available in modern notation); and - really wonderful - The Glogauer Liederbuch (mostly three parts - I only currently have a xerox copy in modern notation thanks to the generosity of a friend, but it can be obtained from a library, I believe). I mention these (there are certainly many others) because as satisfying as learning and playing the solo lute literature is, playing part music with others provides its own unique rewards. I love both! I found enthusiastic players by attending a meeting of our local recorder society. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 400th
Thanks and congratulations - I'm amazed and in awe! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Luteplaying for a forest
A lovely forest, Stefan. In this country (USA) developers wield a lot of power because they have a lot of money and they always talk about the jobs they will create and how the local economy will benefit from their development. It takes a very widespread and well organized opposition to stand up to them, but it does happen occasionally. I wish you and your friends very good luck! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Fabulous Concert Last Night
Thanks for the information about the wonderful concert, David. A rare opportunity, I suspect. I've little hope that they'll get down to my part of the country. I would love to hear Jakob's Rauwold instrument in person but will have to settle for a CD. I wonder how the modification of 7 or 8 course lutes into 10 or 11 courses was done. Assuming the original top was kept, did the interiour barring have to be modified to withstand the added tension? I also wonder, having heard and even played the instrument, in what ways you found the sound and response different from a modern instrument. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Key Question
It sounds like these compositions may have been pre-cursors to Charles Ives! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hieber in Brussels, what else?
Michael, Some museums are willing to let you look at instruments in storage if you tell them you are a player or builder, or otherwise have some particular interest in the instruments. I got to see a lot of instruments not on display at the Smithsonian due to this curtesy. Couldn't hurt to ask. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute tasting, was Greenwich festival
I agree with your advocation of blind testing, David. Having been involved with audio and audiophiles for many years, I've never agreed with the view that blind testing is not useful in evaluating audio components. Most, if not all, of us, overestimate our ability to remain dispassionate in judging items when we can see the item (appearance means a lot) and have an idea of it's cost. I'm sure this applies to lutes and other musical instruments. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute tasting, was Greenwich festival
Choosing a musical instrument seems to me to be a tricky thing. For years I owned two cellos. After playing one for a few months I would switch and really like the "new" one. A few months later and I would rediscover the things I likes about the other one. In a way, it was a remedy for any boredom that might be creeping into my daily practice routine - a different sound and feel to the revisited instrument. Ultimately I sold what I actually had concluded was the 'better' instrument - those I played with thought so and it did project better than the other - simply because the top string was brighter than I could quite get used to. So, yes, as David says, it's how the instrument sounds under your own ear that ends up being the most important issue. Now I'm finding a similar situation with two lutes. One is a more expensive instrument than the other; finer craftsmanship and lighter construction, and more responsive to the slightest changes in touch. But the other has it's own good points that make it enjoyable to play also. Perhaps as I progress in skill and experience, the choice will become clearer. Right now i wouldn't want to sell either one. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Thickness of frets
My experieince with two lutes of slightly different set-up seems to indicate that fret thickness has an influence on the player's ability to play barred chords cleanly. So I wonder if you experienced players are careful in choosing a lute with a particular height of strings at the nut, and fret thicknesses to match this height? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Kodak Zi8 was lute tasting, was Greenwich festival
David's suggestion of the Zoom H2 and Kodak minicam sounds like a good one. Alternatively, there is the option of the Zoom Q3. I paid $249 for mine; it does both video and audio. The sound seems to be very good and likewise the video. (I listen with a high quality pair of earphones). And it fits in a pocket. As a related thought, there's nothing like listening and looking at oneself practicing to do a reality check! While playing, I'm convinced that we don't hear the sounds as we make them, but rather the sounds as we make them augmented by the sounds we hear mentally. And mentally, an editing process is going on continuously, in essence covering up - or glossing over - a multitude of sins. Until I bought the Q3 I thought that I might have two or three easy pieces ready to put on youtube. The Q3 quickly disabused me of that notion; back to the practice room! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hopkinson Smith masterclass Manhattan School of Music
Thanks for the info, Mark. If you go I hope you'll tell us a bit about it. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thickness of frets
Hi Wolfgang, The nut on each of my lutes looks like ivory or bone - pure white. Do I take it then that you use gut strings now? The sound and feel of gut is addictive, I think. Unfortunately, the set of gut strings that I have is too light in tension. Before ordering another set, I want to be sure I can arrive at the right thickness/tension. I know that there are charts giving equivalent tensions among different strings, and will have to consult them. I currently have a set of strings on one lute which seem about right for me, but they came on the instrument and I don't know their gauges. I have a micrometer but it's in thousands-of-an-inch rather than mm; I think I need to purchase one in mm. For anyone buying a recorder to record themselves, I would emphasize that the sound quality you are able to hear is very much dependent on what you play back through. Good headphones aren't cheap but are a good investment. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thickness of frets
Hi Wolfgang, Interesting to hear about your string and fret preferences. I'm unfamiliar with those strings. On the cello I've tried many different brands of strings, but changing strings there is only a matter of 4 strings. I don't look forward to changing 15 strings on my lutes, so haven't done much experimenting. As for the gut strings, however, I found that as long as I kept the instrument in the house the tuning was very stable. I do live in a tropical climate (Florida, USA) but the house is air conditioned. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thickness of frets
Good to see your post here, Joseph. While I was really drawn into the feel and sound of gut, I would always want at least one instrument on hand strung with synthetic, I believe. I enjoy the variety of having different instruments, and also different stringing, to play on. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thickness of frets
Thanks for that information regarding string measuring, Dana. The slide caliper sounds like a good way to go. (My micrometer has a smaller handle within the handle which is ratcheted so that when measuring squishing doesn't - or ideally shouldn't - occur). Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: glasses for reading music
As a wearer of progressives, I thought I'd like to get a pair of mid-range glasses just for reading music. They did work fine, but I sometimes forgot to take them with me when playing with other people. Eventually I decided that the difference between those and my progressives wasn't all that significant, so now I just keep my progressives on. My guess is that this is an issue that will vary from person to person. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: glasses for reading music
If I recall correctly, my ophtamologist determines what my prescription is BEFORE dilating my pupils. I believe the dilation is simply done to enable him to more easily look into the eye for any problems within the eye (such as with the optic nerve or the maculae). Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: De Rippe
Thanks - well done, Val. Enjoyed the 'lute day' recital post also. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Upload to youtube
I thought I would put a short piece on you tube, but have come up with an upload error twice and upload aborted. Any ideas why? I've opened my video from my Zoom Q3 with Quick Time Plus and sent the file to 'My Documents'. I see no problem with the file when viewing it with Quick Time. Does it need further compression or processing? Thanks, Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Upload to youtube
Thanks, David. I tried the bulk upload and did like the fact that I could see the progress. But the problem now is that the sound is out of sync with the video - the video begins well before the sound. Somehow when I edit the dead space at the beginnng and end of the video in Quick Time, I may be getting things out of sync (though it plays fine after the edit has been saved). Oh well, computers and I have never had an entirely sympatico relationship! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Upload to youtube
Thank you David and Kidney for your suggestions. I know I installed the bulk upload gears, David, and thought the plugin was also installed, but will check. Will continue to try things suggested and see how far I get. How many uploads I will do to youtube I don't know, but not as many as Val! I may though look into something other than Quick Time. I appreciate the help! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New English lute-song CD
Thank you, Alfonso. I listened to three selections and bought the CD. That's about as positive a commentary as I can make. Best, Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Problems listening to the music on the webpage
No problem listening with my PC. I did have to use the second link, however, and to put the password in a couple of times before the page opened. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Right hand technique
Thanks for the sites of Jody Fisher's guitar playing. Jazz guitar has long been one of my favorite instruments, and Jody is a master. Very interesting was the difference in his sound and phrasing when he went from finger picking to plectrum picking. Each technique has its own strengths. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Songs
I've been listening to Alfonso Marin's and Valeria Mignaco CD "Clear or Cloudy". A true pleasure. Their performances are convincing beyond question of the greatness of Dowland's and his contemporary's lute songs. A perfect marriage of voice and instrument. Thank you Alfonso and Valeria. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Photos von Lute Course in Alteglofsheim, Germany
And a Merry Christmas and Happy New Year to your, Stefan. Thanks for posting the photos - quite a gathering! And love your castle!! Ned -- 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
I think the quest for louder and louder musical instruments is inevitable. With larger concert halls more musical volume is needed. And as listeners experience more and more noise in their daily environments, they become less sensitive to lower volume music. And - in addition to the larger concert venues - as the ambient noise level in the halls increases due to rustling programs, coughing, talking and now ringing cell phones and beepers, more musical volume is needed to be heard. Sigh. . . But happily I can sit in my listening room at home and listen to recordings with the volume turned as low as I like. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE]
Thank you for posting this, Ron & Donna - what a wonderfully simpatico duo you are. Superb playing, singing and musicality! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
