[LUTE] ring finger

[Robert Barto]

Thanks Martin.

From: A briefe and plaine instruction 1574 Le Roy

https://gallica.bnf.fr/ark:/12148/bpt6k1176218k/f138.image

The sixtene Rule

For to plaie fower partes, it is easely to be understande, that the
thombe and the three fingers together, serve easely to strike the fower
strynges or partes, eche doying his parte, strikyng upward and dounewarde.

I assume the 1568 edition says the same.  Brown says this is an English
translation of a sightly earlier now lost edition. (1557 or 1567)

And do we have permission to use the ring finger earlier in the 16th
century?






To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: LeRoy guiterre tabs

[Robert Barto]

Dear Leonard,

Looking through book one, I think it it quite clear that LeRoy uses the
dot just to show that the note is not played with the thumb.  It can
apparently mean either the index or middle finger which explains why it
sometimes occurs on accented beats. If you look at this way, he is
remarkably consistent, even to the point of taking into account avoiding
the octave on the "bass" string by using consecutive thumb strokes on
the 4th course.

In the case of the dot under a chord, again just no thumb.

Greetings, Robert

PS And thanks to Rainer for pointing these out to us.

Am 17.07.2020 um 16:42 schrieb Leonard Williams:

A question about LeRoys tabs for guiterre, recently brought to our
attention by Rainer:  How "accurate" are the tabs?  I notice a lot of
odd placement of right-hand fingering dots (for index, presumably); are
these in error?  Some are under chords, some on first and third beats,
or on successive notes.
I'm thinking of introducing a novice uke player to these, and I'd
rather not offer something full of confusing misprints.
Thanks and stay well!
Leonard Williams

--


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] La rocha il fuso

[Robert Barto]

   HI Sarge,

   La conocchia o rocca è uno strumento che in coppia col [1]fuso serve a
   [2]filare.

   I'm not really up on "spinning " terminology but apparently the fuso is
   the spindle and the rocca is the distaff?

   There are some wonderful early renaissance paintings of ladies spinning
   even at court.

   Robert
   Am 17.05.2020 um 21:02 schrieb Frank A. Gerbode, M.D.:

 Anybody know what "la rocha il fuso" *means*? Just curious.
 --Sarge

 --Sarge
 --
 Frank A. Gerbode, M.D. ([3]sa...@gerbode.net)
 11132 Dell Ave
 Forestville, CA 95436-9491
 Home phone: � 707-820-1759
 Website: � [4]http://www.gerbode.net
 "The map may not be the territory, but it's all we've got."
 To get on or off this list see list information at
 [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://it.wikipedia.org/wiki/Fuso_(strumento)
   2. https://it.wikipedia.org/wiki/Filatura
   3. mailto:sa...@gerbode.net
   4. http://www.gerbode.net/
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: La rocha il fuso

[Robert Barto]

   HI Sarge,

   La conocchia o rocca è uno strumento che in coppia col [1]fuso serve a
   [2]filare.

   I'm not really up on "spinning " terminology but apparently the fuso is
   the spindle and the rocca is the distaff?

   There are some wonderful early renaissance paintings of ladies spinning
   even at court.

   Robert

   Am 17.05.2020 um 21:02 schrieb Frank A. Gerbode, M.D.:

 Anybody know what "la rocha il fuso" *means*? Just curious.
 --Sarge

 --Sarge
 --
 Frank A. Gerbode, M.D. ([3]sa...@gerbode.net)
 11132 Dell Ave
 Forestville, CA 95436-9491
 Home phone: � 707-820-1759
 Website: � [4]http://www.gerbode.net
 "The map may not be the territory, but it's all we've got."
 To get on or off this list see list information at
 [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://it.wikipedia.org/wiki/Fuso_(strumento)
   2. https://it.wikipedia.org/wiki/Filatura
   3. mailto:sa...@gerbode.net
   4. http://www.gerbode.net/
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: : Re: Unison C string on 8c lutes

[Robert Purrenhage]

   This groovy discussion causes me to ponder:
   Should the string grooves at the nut be the full width of the string,
   or should they be only as deep and wide as required to hold the string
   in position - prevent it from sliding laterally?
   Similarly how deep / wide should the grooves on a Viola da Gamba bridge
   be?
   What do the builders on the list have to say?
   Many thanks,
   Bob Purrenhage

   On Thursday, November 28, 2019, 10:27:11 AM EST, Leonard Williams
wrote:
 Something I had not thought of--width of groove.  Depth should
   not
 be a problem; in fact, near the nut the upper surface of the octave
 should be lower than the bass. BUT--I had not considered looseness
 across the groove.  I'll look into that.
 Thanks for the tip!
 Regards,
 Leonard
 -Original Message-
 From: Anthony Hind <[1]agno3ph...@yahoo.com>
 To: Leonard Williams <[2]arc...@verizon.net>; daillie
 <[3]dail...@club-internet.fr>
 Cc: lute <[4]lute@cs.dartmouth.edu>
 Sent: Thu, Nov 28, 2019 3:32 am
 Subject: Re : [LUTE] Re: Unison C string on 8c lutes
 Could it perhaps be  Leonard, that the grooves at your nut at 5C was
 set up for your thicker unisson strings. Something similar happened
   to
 me on my 11C lute, when I replaced Venice twine unissons on F4 with
 equivalent thinner loaded strings. I heard a definite rattle. I put
   the
 Venices back and the problem went away.
 However later on my 3A unisson HT gut strings a  similar rattle
 appeared, I hadn't changed the diameter, but perhaps some wear had
 slightly widened the groove or the neck moved a little. I could have
 changed to slightly thicker strings, but a lute maker friend said he
 could lightly fill and raise the nut's groove with dentist's dentine.
 This did the trick, so this solution for changing to octaves could
 possibly work for you.
 On my 7C lute, on 5C, I have Venice twine unissons and like yourself,
   I
 have been thinking of moving to 1.00 Venice bass and 0.52HT octave,
   but
 I fear a similar problem will occur as the lute originally was set up
 for the unisons so with a wider 1.00mm groove
 Also, I imagine perhaps wrongly, that a 0,52 Ht gut string will last
   a
 lot less than a 1.00 Venice unisson.
 Am I wrong about that?
 Best wishes
 Anthony
 [1]Sent from Yahoo Mail for iPhone
 Le mercredi, novembre 27, 2019, 8:33 PM, Leonard Williams
 <[5]arc...@mail.cs.dartmouth.edu> a à ©crit :
   I, too have had issues with octaves on the 5th course of my 8
   course lute.  I tried it several years ago, using an octave half
   the
   diameter of the bass (all in gut).  But, whereas the octave g on
   6th
   blended well with its bass, the octave c stood out, sounding
   jangly,
   almost as though I had a metal string on there.  Perhaps it was
   poor
   (thumb-in in this case) technique?  At any rate, I switched back to
   unison.
   I'm trying octaves again as a result of this discussion, same
   stringing.  One thing I paid careful attention to was the height of
 the
   octave: it stood a mere half millimeter above the bass at the
   bridge,
   but enough that I was striking the pair of strings unevenly, with
   the
   octave ringing out quite plainly.  I adjusted the bridge knot, what
   little I could, and the sound improved somewhat.  Perhaps further
 work
   with RH technique will further improve the sound.  Or--any other
   suggestions??
   Regards to all, and Happy (US) Thanksgiving!
   Leonard Williams
 --
   References
 1. [6]https://yho.com/footer0
   To get on or off this list see list information at
   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:agno3ph...@yahoo.com
   2. mailto:arc...@verizon.net
   3. mailto:dail...@club-internet.fr
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:arc...@mail.cs.dartmouth.edu
   6. https://yho.com/footer0
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Borrono-Francesco facsimile

[Robert Barto]

   Hi all,

   Can anyone point me to a facsimile copy of � Brown 1546 (8)?

   Thanks,

   Robert

   Virenfrei. [1]www.avast.com

   --

References

   Visible links:
   1. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   3. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   4. 
file://localhost/net/ifs-users/lute-arc/L32607-7401TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Italian translation help

[Robert Barto]

   Many thanks to all who helped out.

   Robert

   Virenfrei. [1]www.avast.com

   --

References

   Visible links:
   1. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   3. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   4. 
file://localhost/net/ifs-users/lute-arc/L17202-9974TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Italian translation help

[Robert Barto]

   Hi all,

   Can anyone help with the following from Borrono's 1548 books?

   Saltarello detto il Penono

   Saltarello detto la bella Bianca ha hauto torto

   Saltarello O chel me tira il brazo (which I've been assuming � has
   something to do with arm position because all the little partial
   barrés, but I've been way off with translations in the past.)

   Saltarello detto Se la passasse

   Thanks,

   Robert

   Virenfrei. [1]www.avast.com

   --

References

   Visible links:
   1. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   3. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   4. 
file://localhost/net/ifs-users/lute-arc/L31539-1493TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tailpieces (was Plucking Room)

[Robert Clair]

That’s  tarogato without the accents.



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tailpieces (was Plucking Room)

[Robert Clair]

> You might ask why clarinet makers build the instrument with a cylindrical 
> bore, 
> when a conical bore would be a more efficient way to produce sound.  The 
> answer 
> would be that if it’s built with a conical bore, it’s a saxophone.

or more likely a tárogató

,…Bob
--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: To repeat or not to repeat

[Robert Barto]

   Hi Rainer,

   I've performed this piece often in the last few years and find it works
   well and makes sense the way it is.

   It is not similar to any of the other Milan fantasias, except the
   pavanas (which he also calls fantasias).  He says that fantasia 22 is
   in the style of these pavanas, which he recommends repeating two or
   three times.

   So if he would repeat the pavanas, his repeating  of a section here in
   a pavana based fantasy doesn't seem far-fetched to me.

   Milan has just written out a repeat here with a first and second
   ending. The first ending (bars 102-105) is a slight variation of the
   opening phrase (bars 36-39), and the second ending is an 8 bar coda. It
   makes perfect sense, and if he went to the trouble of writing it out, I
   see no reason to think there is any mistake here. (My measure numbers
   are from the Schrade edition.)

   Even with the repeated section, the piece is not very long, and I think
   is quite well balanced. ( At one bar = 70 bpm , it is two and a half
   minutes long, but this may be a bit on the fast side.)

   Grüsse,

   Robert

   Am 23.02.2019 um 11:43 schrieb Rainer:

 Dear lute netters,
 I think I posted this already 20 years ago - I cannot remember.
 In Milan's fantasia 22 (Maestro, G2r-G3v) bars 107-167 are (apart
 from s a single misprinted note)
 an exact copy of bars 41-101.
 I wonder if this is really intended.
 Of course, as we know from the errata list at the end of the book,
 Milan obviously checked the whole book for errors and why should he
 have missed such an error.
 On the other hand 60 repeated  bars...
 I am not aware of a similar case in other fantasias.
 Any opinions?
 Best wishes,
 Rainer
 To get on or off this list see list information at
 [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   Virenfrei. [2]www.avast.com

   --

References

   Visible links:
   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   4. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   5. 
file://localhost/net/ifs-users/lute-arc/L11902-6475TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2

[LUTE] German song questions

[Robert Barto]

   Thank you all.
   After Rainer's mail I was amazed to find Böhme's book on Google books
   where I could even  download a pdf of all 900 pages.
   The song is listed under "Tanz - und Scherzliedchen".
   Unsere Köchin kann aus der Masssen kochen wol,
   Auch das aller beste, was man essen sol,
   Sey gsotten oder braten ist alles gut geraten
   taugt wohl für die Crabaten.
   She apparently cooks Gsotten (boiled meat?)  and Braten and it is
   suitable for the  Crabaten (crabs?).
   Robert

   Virenfrei. [1]www.avast.com

   --

References

   Visible links
   1. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   3. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   4. 
file://localhost/net/ifs-users/lute-arc/L16509-1327TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] German song questions

[Robert Barto]

   Hi all,

   Some of the easiest pieces in early German tab books are:

   Hast du mich genommen (Madonna Katerina) and  Unsere Koechin kann aus
   der massen kochen

   Does anyone have the texts or know more about  these songs? (I have the
   first two volumes of Forster and have

   looked in a few other collections on IMSLP , but haven't found them.)

   Thanks, Robert

   Virenfrei. [1]www.avast.com

   --

References

   Visible links
   1. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient

   Hidden links:
   3. 
https://www.avast.com/sig-email?utm_medium=email_source=link_campaign=sig-email_content=emailclient
   4. 
file://localhost/net/ifs-users/lute-arc/L27726-6265TMP.html#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Early Music life

[Robert Purrenhage]

   Karen Meyers and Russell Ferrara played lute duets in South Street
   (Philadelphia) cafes in the early 1990s.
   West Chester U Collegium Musicum used to perform regularly, often for
   the public or fund raiser madrigal dinners on campus and off, until
   2005 or thereabouts.
   And of course, there's Pastimes Music, renowned for piping on the beech
   in Cape Cod, sunset 31 December chilly tradition, and for playing 'at'
   Jordan Hall (as in on the street outside) entertaining the people
   waiting for the Sat late night concert at BEMF, a somewhat warmer
   tradition.
   Bob Purrenhage

   On Wednesday, January 3, 2018, 10:14:28 AM EST, Roman Turovsky
    wrote:
   On my memory - Sylvain Bergeron did a bar gig in NYC some years ago.
   RT
   On 1/3/2018 9:03 AM, Daniel Shoskes wrote:
   >
   >> On Jan 3, 2018, at 8:41 AM, Tristan von Neumann
   <[1]tristanvonneum...@gmx.de> wrote:
   >>
   >> Happy New Year to all who are on the European calendar.
   >>
   >>
   >> Here's one question - is there any noticeable Early Music life going
   on in your neighborhood, besides the 19th/20th century concert context
   (which I always find a bit awkward)?
   > The Greater Cleveland area is fortunate in that regard: Apolloââ¬â¢s
   Fire (The Cleveland Baroque Orchestra), Les Delices, Case Western Early
   Music Program, Quire, Burning River Baroque, Oberlin nearby
   >
   >
   >> Ever heard of a bar where there are Early Music jam sessions?
   > Ronn McFarlane played in a restaurant here once.
   >> Have you ever seen Early music picknicks in the park or in the
   woods?
   > Renaissance Faires count?
   >> Do you play table music at your own private dinner parties?
   > Yes! [2]https://youtu.be/herltcj1i_0
   <[3]https://youtu.be/herltcj1i_0>
   >
   >
   >
   > --
   >
   > 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:tristanvonneum...@gmx.de
   2. https://youtu.be/herltcj1i_0
   3. https://youtu.be/herltcj1i_0
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Early Music life

[Robert Purrenhage]

   Hallo Tristan,
   Answers in order:
   Zur geflickten Trommel - Gesandtenstr Regensburg.
   One pre-concert picknick music in park in Philadelphia last summer
   (Piffaro)
   We have feasts at home several times per year, usually with early music
   - several small groups or ad hoc.
   Bob Purrenhage
   On Wednesday, January 3, 2018, 8:44:15 AM EST, Tristan von Neumann
    wrote:
   Happy New Year to all who are on the European calendar.
   Here's one question - is there any noticeable Early Music life going on
   in your neighborhood, besides the 19th/20th century concert context
   (which I always find a bit awkward)?
   Ever heard of a bar where there are Early Music jam sessions?
   Have you ever seen Early music picknicks in the park or in the woods?
   Do you play table music at your own private dinner parties?
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Andrew Hartig

[Robert Gallagher]

Hello Monica.  Best way I know of is via his Facebook site, 
http://facebook.com/amhstrings <http://facebook.com/amhstrings>.  Hope that 
helps.  All best, Robert
Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48

> On 24 Oct 2016, at 22:04, mjlh...@tiscali.co.uk wrote:
> 
> Does anyone have Andrew Hartig's e-mail. Gerard Rebours would like to 
> get in touch with him.
> Please reply off the list.
> Monica
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Vivaldi lute concerto

[Robert Gallagher]

I would call that a “thumbs-up” performance.  Wonderful.  Larger orchestra 
than I would have liked but you can always count on Bream to put musicality 
first.  All best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48

> On 12 Oct 2016, at 12:03, Diego Cantalupi <tio...@gmail.com> wrote:
> 
> Some very HIP thumb out Vivaldi.
> 
> https://www.youtube.com/watch?v=qyY5pB2a0cU
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Vivaldi lute concerto

[Robert Gallagher]

Greetings all.  I’m not even the last guy you would ask for an opinion on 
historical authenticity, but I have several times played this concerto on 
classical guitar, accompanied by both piano and string ensemble.  My read is 
that this is a musically very satisfying performance.  I really enjoyed the way 
that the lute was able to take the principal role as the solo instrument 
should.  It’s true that the single stringing on the instrument gives it a 
certain resonance that approaches the sonority of the guitar, but that poses 
absolutely no problem for me.  On the contrary, that “single-mindedness” 
really helps the lute stand out against a very busy background.  Truth be told, 
though I’m very interested in the historical integrity of an interpretation, 
that aspect is, for me, secondary to the musical satisfaction.  Sometimes the 
historically correct version is the most musically satisfying; other times it 
is not.  But I do feel that the intellectual exercise of authent!
 icity is a secondary concern to the aesthetic satisfaction of a performance, 
one that can make the listener vibrate.  All best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48

> On 10 Oct 2016, at 23:33, Jarosław Lipski <jaroslawlip...@wp.pl> wrote:
> 
> Name it as you like, for me it’s a Liuto forte. There is another version of 
> RV93 played by Luca here https://www.youtube.com/watch?v=JB101T_sVog 
> <https://www.youtube.com/watch?v=JB101T_sVog> 
> The whole instrument is single strung again, and the evidence for this type 
> of archlute stringing is very scarce as Howard rightly noticed. Luca uses 
> fingernails, so this is another factor that influences the overall sound (not 
> only mics).
> JL
> 
> 
>> On 10 Oct 2016, at 22:28, Roman Turovsky <r.turov...@gmail.com> wrote:
>> 
>> on a good authority of RT.
>> Luca has at least 2 of these, one with a much longer extension.
>> RT
>> 
>> 
>> On 10/10/2016 4:16 PM, Jarosław Lipski wrote:
>>> Really? Is there any evidence to support this theory?
>>> JL
>>> 
>>> 
>>>> On 10 Oct 2016, at 22:15, Roman Turovsky <r.turov...@gmail.com> wrote:
>>>> 
>>>> It is certainly NOT a liuto-forte, but a single-strung archlute by Luc 
>>>> Breton.
>>>> RT
>>>> 
>>>> On 10/10/2016 2:06 PM, Jarosław Lipski wrote:
>>>>> The instrument in question is not an archlute or liuto attiorbato, but a 
>>>>> liuto forte. Some lute players like Luca Pianca, Luciano Contini, Eric 
>>>>> Bellocq and many others use it, however I would be far from saying that 
>>>>> this is a historical instrument - see here 
>>>>> http://liuto-forte.com/ueb_00_en.html 
>>>>> <http://liuto-forte.com/ueb_00_en.html> It’s easier to play and 
>>>>> was specially created with guitarists in mind.
>>>>> Also Lucas fingering in Vivaldi isn’t really Baroque. Having said 
>>>>> that, his performance from musical point of view was successful, and I am 
>>>>> glad to see people talking about music on this list :)
>>>>> Best
>>>>> 
>>>>> 
>>>>>> On 10 Oct 2016, at 18:23, howard posner <howardpos...@ca.rr.com> wrote:
>>>>>> 
>>>>>> 
>>>>>>> On Oct 10, 2016, at 8:33 AM, Diego Cantalupi <tio...@gmail.com> wrote:
>>>>>>> 
>>>>>>> The main problem to me, is that the concerto is played in C, and not. 
>>>>>>> in D.
>>>>>>> It's easier on a G archlute, but sounds to me very strange for the 
>>>>>>> violins.
>>>>>> Luca plays an archlute/liuto attiorbato in A.  I believe Giardino 
>>>>>> Armonico plays at A 415.  I’m guessing the pitch is lowered on 
>>>>>> the Youtube video we’re talking about.  This is commonly done to 
>>>>>> avoid detection by copyright bots.
>>>>>> 
>>>>>> Here’s a recording of Giardino and Luca doing the same concerto, 
>>>>>> sounding in D at A 415:
>>>>>> 
>>>>>> https://www.youtube.com/watch?v=a0kJwhbZcAM
>>>>>> 
>>>>>> Of course, it’s possible that the sound is adjusted up on this 
>>>>>> one.
>>>>>> 
>>>>>> 
>>>>>> 
>>>>>> To get on or off this list see list information at
>>>>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>>> --
>>> 
>>> 
>> 
> 
> 
> --


--

[LUTE] Re: Ballo Quarto (1688) for colasioncino and guitar

[Robert Gallagher]

Thanks for this Stuart.  Truly lovely piece…brightened my morning.  All best, 
Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48

> On 05 Jul 2016, at 11:05, WALSH STUART <s.wa...@ntlworld.com> wrote:
> 
> a little piece for 2-string colascioncino and guitar. The Ballo is edited by 
> Enzo Puzzovio and Martyn Hodgson created the guitar part
> 
> 
> https://www.youtube.com/watch?v=e4-PizEuFU4
> 
> 
> 
> Stuart
> 
> 
> ---
> This email has been checked for viruses by Avast antivirus software.
> https://www.avast.com/antivirus
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: U.S.A source for Savarez lute strings.

[Robert Gallagher]

I’ll second your recommendation, John and would add that it’s true of most 
strings.  Even from France their prices, shipping included, are less than 
European prices until I get above €25.  At that level, lordofthestrings.com in 
the Netherlands, with Europe-wide free shipping on orders above that sum 
usually pip them at the post.  All best, Robert

> On 27 Apr 2016, at 20:31, John Mardinly <john.mardi...@asu.edu> wrote:
> 
>   I just bought some Savarez Alliance KF strings from:
> 
>   [1]https://www.stringsbymail.com
> 
>   I have used this site for Savarez guitar strings many times, and always
>   got excellent service. I am also glad to support this site because they
>   sponsor some outstanding young performers, especially Gohar Vardanyan.
> 
>   These strings came in ~2 days.
> 
>   I should mention that I had to wait a long time for a backorder for
>   Pyramid strings on one occasion. Especially irritating because the
>   strings were terrible.
> 
>   A. John Mardinly, Ph.D., P.E.
>   Retired Principal Materials Nanoanalysis Engineer
>   EMail: [2]john.mardi...@asu.edu
>   Cell: [3]408-921-3253 (does not work in TEM labs)
>   But don't call the labI won't be there!
> 
>   On Apr 26, 2016, at 9:20 PM, Herbert Ward <[4]wa...@physics.utexas.edu>
>   wrote:
> 
>   How about a USA website that sells Savarez lute strings?
>   To get on or off this list see list information at
>   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> References
> 
>   1. https://www.stringsbymail.com/
>   2. mailto:john.mardi...@asu.edu
>   3. tel:408-921-3253
>   4. mailto:wa...@physics.utexas.edu
>   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 

[LUTE] Re: CNRS

[Robert Gallagher]

Indeed the French in general take a very broad interpretation of the word 
science.  Sometimes it can help when you have a weak hand in an argument.  All 
best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48



> On 24 Mar 2016, at 11:23, Arto Wikla <wi...@cs.dartmouth.edu> wrote:
> 
> Our Finnish word "tiede" (~science) also has this wider European meaning, 
> fortunately! :-)
> 
> Arto
> 
> On 24/03/16 20:07, Rainer wrote:
>> On 24.03.2016 18:39, Brad Walton wrote:
>>> I believe that the word "science" has wider connotations in French
>>> than in English.
>> 
>> As - unfortunately - in German.
>> 
>> Rainer
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 


--

[LUTE] Re: CNRS

[Robert Gallagher]

Be aware that the role of the CNRS in French research is surprisingly broad.  
The stated mandate of the organisation is to “produce knowledge and to put 
that knowledge to the service of society" (my translation from the French).  
Consequently,  the CNRS covers all of the sciences, as its name might suggest, 
but also all of the social sciences (psychology, sociology, etc.) and the arts 
(visual, literary and musical).  In fact the word scientific in the title is 
misleading and publishing music falls comfortably within the organisation's 
perceived mandate. CNRS is a wonderful organisation (ok, a bit stodgy and 
pedantic at times) and is a perfect model for the unstated French world view 
that, “if we don’t educate the ignorant masses, who will?"  I was lucky 
enough to have been funded for nearly five years of full-time work on the place 
of James Joyce in contemporary French literature.  Nirvana.  Those were the 
days.  All best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48



> On 21 Mar 2016, at 22:29, Christopher Stetson <christophertstet...@gmail.com> 
> wrote:
> 
>   Personally, I always wondered why the National Center for Scientific
>   Research was in the business of publishing lute music.   I wonder how
>   that got by the funders.   But it was a different time.
>   C.
> 
>   On Mon, Mar 21, 2016 at 11:47 AM, [1]b...@symbol4.de <[2]b...@symbol4.de>
>   wrote:
> 
>The CNRS shop isn't completely sold out.
> 
> [3]http://www.cnrseditions.fr/musicologie/4969-Oeuvres-Charles-Mouto
> n-Moni
>que-Rollin.html
> 
> [4]http://www.cnrseditions.fr/musicologie/3502-Oeuvres-Pinel-Monique
> -Rolli
>n.html
> 
> [5]http://www.cnrseditions.fr/musicologie/3514-Oeuvres-pour-luth-seu
> l-Jean
>-Baptiste-Besard-Monique-Rollin.html
> 
> [6]http://www.cnrseditions.fr/musicologie/3476-Oeuvres-dAdrian-Roy-J
> ean-Mi
>chel-Vaccaro.html
> 
> [7]http://www.cnrseditions.fr/musicologie/3496-Oeuvres-Julien-Belin-
> Michel
>-Renault.html
>I wonder what happens if one orders something now.
>Some years ago I did. As you know I think that the CNRS is a sort
> of
>area 51. Consequently no parcel arrived. Mails and calls proved
> to be
>fruitless. No response. Then suddenly, after 10 months,   the
> parcel
>came: excessively covered with stamps and seals: "Urgent! Air
> Mail! By
>Helicopter! Express delivery!"   The p was double the price of
> the
>parcels contents - but I was never charged :-) So, good luck!
>B
> To get on or off this list see list information at
> [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
>   --
> 
> References
> 
>   1. mailto:b...@symbol4.de
>   2. mailto:b...@symbol4.de
>   3. http://www.cnrseditions.fr/musicologie/4969-Oeuvres-Charles-Mouton-Moni
>   4. http://www.cnrseditions.fr/musicologie/3502-Oeuvres-Pinel-Monique-Rolli
>   5. http://www.cnrseditions.fr/musicologie/3514-Oeuvres-pour-luth-seul-Jean
>   6. http://www.cnrseditions.fr/musicologie/3476-Oeuvres-dAdrian-Roy-Jean-Mi
>   7. http://www.cnrseditions.fr/musicologie/3496-Oeuvres-Julien-Belin-Michel
>   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 


--

[LUTE] Re: Breaking news

[Robert Gallagher]

I’ve actually played Stromness on my six course renaissance lute using the 
transcription for guitar by Timothy Walker (Boosey & Hawkes 1980) and it works 
well.  OK, I cheat and tune the third course up a half tone, but it is a very 
satisfying arrangement that, as I play it, anyway, comes across as a bit more 
melancholic than does my guitar version.  All best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48




> On 14 Mar 2016, at 18:41, John Mardinly <john.mardi...@asu.edu> wrote:
> 
>   There is a very nice version by the Los Angeles Guitar Quartet at:
> 
>   [1]https://youtu.be/2Om2GoiUYfw
> 
>   A. John Mardinly, Ph.D., P.E.
>   Retired Principal Materials Nanoanalysis Engineer
>   EMail: [2]john.mardi...@asu.edu
>   Cell: [3]408-921-3253 (does not work in TEM labs)
>   But don't call the labI won't be there!
> 
>   On Mar 14, 2016, at 9:01 AM, M Hall <[4]mjlh...@tiscali.co.uk> wrote:
> 
>   Yes - I think you should - and post it on Youtube if you can.   It
>   would be a nice tribute to him.
>   Monica
>   -Original Message-
>   From: [5]jo.lued...@t-online.de [[6]mailto:jo.lued...@t-online.de]
>   Sent: 14 March 2016 15:33
>   To: M Hall; [7]lute@cs.dartmouth.edu
>   Subject: AW: [LUTE] Breaking news
>   Dear Monica,
>   thank you - even if his is sad news! I have thought from time to time
>   of arranging "Farewell to Stromness" (from Davies' "Yellow Cake Revue")
>   for lute, maybe I should realize this now!
>   Joachim
>   -Original-Nachricht-
>   Betreff: [LUTE] Breaking news
>   Datum: 2016-03-14T16:16:35+0100
>   Von: "M Hall" <[8]mjlh...@tiscali.co.uk>
>   An: "Lutelist" <[9]lute@cs.dartmouth.edu>
> The English composer Peter Maxwell Davies has died.  I don't think he
> wrote any lute music (pity - it would have been interesting if he
>   did)
> - but he was into early music at least in his youth.
> R.I.P.
> Monica
> --
>   To get on or off this list see list information at
>   [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> References
> 
>   1. https://youtu.be/2Om2GoiUYfw
>   2. mailto:john.mardi...@asu.edu
>   3. tel:408-921-3253
>   4. mailto:mjlh...@tiscali.co.uk
>   5. mailto:jo.lued...@t-online.de
>   6. mailto:jo.lued...@t-online.de
>   7. mailto:lute@cs.dartmouth.edu
>   8. mailto:mjlh...@tiscali.co.uk
>   9. mailto:lute@cs.dartmouth.edu
>  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 


--

[LUTE] Re: DANCE by LA DOULCE FLOUR

[Robert Gallagher]

Wonderful Gilbert.  Can’t tell you what a pleasure it is to see someone 
wrench the lute out of its usual context of “historical instrument” and to 
make it as contemporary as a Fender Stratocaster.  Bravo.  All best, Robert
Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48



> On 06 Jan 2016, at 21:16, Gilbert Isbin <gilbert.is...@gmail.com> wrote:
> 
>   [1]https://www.youtube.com/watch?v=ko8k0IG8nsI
> 
>   With kind regards,
> 
>   Met vriendelijke groeten,
> 
>   Bien cordialement,
>   Gilbert Isbin
>   [2]www.gilbertisbin.com
>   [3]gilbert.is...@gmail.com
> 
>   --
> 
> References
> 
>   1. https://www.youtube.com/watch?v=ko8k0IG8nsI
>   2. http://www.gilbertisbin.com/
>   3. mailto:gilbert.is...@gmail.com
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: A Lute of Six Courses

[Robert Purrenhage]

   My preference is for unisons throughout, especially 4th course,
   especially if playing with a plectrum (only happened once).
   May you enjoy your new lute in the new year!
   Bob Purrenhage
 __

   From: sterling price 
   To: Lutelist Net 
   Sent: Tuesday, December 29, 2015 5:04 PM
   Subject: [LUTE] A Lute of Six Courses
   Dear list--
 Yesterday I got a new six course lute. This is the first time I have
 really played one.
 Question--is there an octave generally on the fourth course? Say for
 Milano and such. But I also plan to play vihuela music on this, so
   then
 no octaves?
 Sterling
 --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Francois Pierre Goy

[Robert Gallagher]

Hello Monica.  He can be reached at the French Bibliothèque Nationale 
mailto:francois-pierre@bnf.fr <mailto:francois-pierre@bnf.fr>.  All 
best, Robert

Robert Gallagher
Tour Béryl BAL 68-3
40, avenue d’Italie
75013 Paris FRANCE

+33 (0) 983 79 70 48



> On 17 Nov 2015, at 18:11, M Hall <mjlh...@tiscali.co.uk> wrote:
> 
>   Does anyone have an e-mail address for Francois Pierre Goy.   I had it
>   but lost it when my old computer died.
> 
>   Monica
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: Thumb-over

[Robert Margo]

   The left hand thumb was also used to fret bass notes on the 18th
   century Neapolitan mandolin (very occasionally). There are
   instances, as well, in the early 20th century Italian mandolin
   literature, such as Ernesto Rocco's "Serenade" and in some of Raffaele
   Calace's pieces for liuto cantabile (a 5-course plectrum instrument
   tuned like a cello, but with an extra E on top).   Stephen Lalor, a
   contemporary Australian composer for mandolin and related instruments,
   specifies LH thumb in some of his recent pieces.   In all of these
   cases, the technique is not physically necessary to realize the music.

   On Fri, Oct 2, 2015 at 2:41 PM, Bruno Figueiredo
   <[1]bruno.l...@gmail.com> wrote:

That's interesting. Watching all the pictures I noticed that none
 of
them show the player with a strap. Therefore, they are holding
 the
instrument by the neck (as there is no other way without a strap)
 and
not fretting notes on the fingerboard. In fact the ones that
 could be
doing so didn't need it because their right hand is in a way as
 if
holding a plectrum - probably playing a single line. This is
 indeed so
in the Cantigas de Santa Maria example, the thumb is opened just
holding the instrument.
The only conclusion I have from looking at these examples is that
 the
use of a strap is not a historical one (at least until the 16th
century).
2015-10-02 4:54 GMT-03:00 jmpoirier2
 <[1][2]jmpoiri...@wanadoo.fr>:
 Please have a look at this page I put up a couple of years
 ago...
 [2][3]http://le.luth.free.fr/pouce/index.html
 Best to all,
 Jean-Marie
  Message d'origine 
 De : jelmaa <[3][4]jel...@gmail.com>
 Date : 01/10/2015 23:50 (GMT+01:00)
 A : lutelist Net <[4][5]lute@cs.dartmouth.edu>
 Objet : [LUTE] Re: Thumb-over
   I think the terms 'common' and 'replete' are very exaggerated
 for
19th
   century guitar repertoire. The LH thumb is used occasionally,
 but
   almost only in Viennese/Austrian solo repertoire, not in
 French or
   Spanish music. For it to work you need a guitar with a very
 thin
neck,
   and it still messes up your left hand technique (in my
 experience,
   playing on original 19th C French & Viennese guitars).
   Jelma van Amersfoort
   On Oct 1, 2015, at 22:43 , G. C. wrote:
   > Hey Chris, that's really interesting. So the 19th
 century
   repertoire is
   > replete with this technique? I'm surprized and feel
 there is
much
   to
   > this matter, which hasn't been thoroughly analyzed yet.
 :)
G.
   >
   > On Thu, Oct 1, 2015 at 6:28 PM, Christopher Wilke
   > <[1][5][6]chriswi...@cs.dartmouth.edu> wrote:
   >
   >  The technique was common in 19th century guitar
 playing,
where
   it
   >   was
   >  often marked with a "^". It does have some
 advantages and
   there
   >   are
   >  spots where it facilitates fewer chord shape
 changes. In
that
   >  repertoire, I haven't encountered any pieces that I
absolutely
   >   couldn't
   >  finger without the thumb over the neck. (I did,
 however,
   perform
   >   one
   >  contemporary piece in which the only way I could
 figure
out
   how
   >   to get
   >  a particular combination of notes was to use the
 left hand
   thumb.
   >   This
   >  was not due to cleverness on the composer's part,
 but
rather
   >   because he
   >  wasn't a guitarist at all.)
   >  I suspect that some lute players did this and some
 avoided
it.
   >   There
   >  might be the odd piece that absolutely requires it.
 There
also
   >   might be
   >  some performance practice insights one could gain
 from
   >   experimenting
   >  with it, but due to the risk of wrist injury, I'd
 be
hesitant
   to
   >   make a
   >  regular practice of using it all the time. Even in
 the
19th
   >   century, it
   >  wasn't universal. Sor, for one, disapproved of it.
   >  Chris
   >  [1]Sent from Yahoo Mail for iPhone
   >On Oct 1, 2015, 12:01:01 PM, G. C. wrote:
   >  One 

[LUTE] Re: Widening holes at bridge

[Robert Clair]

 Use a hobby drill. (Not sure if that's the real name.)

real name — “pin vise



--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Widening holes at bridge

[Robert Clair]

Without the weird character encoding

pin vise

I’d try a good hardware store. 



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] herzlich tut mich verlangen

[Robert Barto]

   Hi lutefolks,
   I'm traveling and forgot to copy this at the last minute. I might want
   to add it to a program. So that would be from
   Hundert Geistliche Melodien
   Esaias Reusner (the Younger)
   Herzlich tut mich verlangen
   If anybody has it digitally or can do a quick scan. (it is also in Das
   Erbe Deutsche Musik in the Weiss-Reusner volume)
   Many thanks,
   Robert
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. https://www.avast.com/antivirus
   2. https://www.avast.com/antivirus


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] herzlich tut mich verlangen

[Robert Barto]

   Hi lutefolks,
   I'm traveling and forgot to copy this at the last minute. I might want
   to add it to a program. So that would be from
   Hundert Geistliche Melodien
   Reusner the Younger
   Herzlich tut mich verlangen
   If anybody has it digitally or can do a quick scan. (it is also in Das
   Erbe Deutsche Musik in the Weiss-Reusner volume)
   Many thanks,
   Robert
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. https://www.avast.com/antivirus
   2. https://www.avast.com/antivirus


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Lute Strap

[Robert Purrenhage]

   Greetings Luters,
   Interesting lute strap discussion - something I've experimented with
   for years. I find sitting cross-legged a strain. With a strap, I can
   sit comfortably or stand. (6 cs Larry Brown Frei lute).
   Here's what I've come up with that works for me (for what it's worth).
   I have two strap buttons, the second near the neck bowl joint, but you
   can also attach the strap as typical at the peg box - see what works. I
   think this depends on your arm length, whether you want your lute
   positioned more left or more right of your chest center line, so your
   right and left arms are both without stress.
   I don't think the actual strap material is important - pick something
   you like (leather, cloth webbing, woven, ribbon, part of an old belt).
   One end is attached at button at bridge end button. The other end of
   strap has a length of leather or cloth lacing or twine tied to the
   strap end.
   Find some spring loaded drawstring adjusters (plastic beads with spring
   tension squeezer pin as for parkas, duffel bags, etc.). Pass the free
   end of the thinner cord (you just tied to the strap) through the
   drawstring adjuster, then around the peg head, then back through the
   drawstring adjuster in the opposite direction. Now you can micro adjust
   the snugness of the strap using the drawstring adjuster. You can even
   do this pretty much on the fly, once you get the hang of it. This makes
   it easy to experiment and find your 'favorite' lute position. Also
   makes it easy to adjust the strap if you play sometimes with shirt
   only, or sometimes with jacket, or, wearing a doublet anyone?
   If anyone wants a photo, I can send that next week. I'm in Germany now,
   luteless.
   Bob Purrenhage
 __
 __

   From: Michael Grant mmgrant0...@gmail.com
   To: LuteNet list lute@cs.dartmouth.edu
   Sent: Thursday, July 23, 2015 2:37 PM
   Subject: [LUTE] Re: Lute Strap
 I just spent a week with Nigel at the LSA seminar and got to see his
 lute up close.  He has tied a loop of gut fret to his button and runs
 a strap through it (tied at the pegbox).  The strap is loose through
 the gut fret loop and continues with enough length for him to sit on
 it.  This allows him to adjust tension however he wants by sitting on
 more or less of the strap.  Any very flexible belt would work in his
 method or a long length of leather or some cloth material.
 Michael
 On Thu, Jul 23, 2015 at 7:43 AM, Charles Mokotoff
 [1][1]mokot...@gmail.com wrote:
   Thanks to everyone for the replies. What is clear from my
   looking
   the
   URLs over is that:
   1. No one in the USA is selling these
   2. They are a bit expensive for what you get
   However, I understand that some of these are quite beautiful
   and
   much
   nicer than anything I could probably cobble together.
   More importantly, I played around with my version some more and
   noticed
   that, yes, the lute is sitting stable on the RIGHT thigh,
   rather
   than
   in between the thighs with a footstool, (essentially I hold the
   instrument as if it were a classical guitar). This used to work
   in my
   younger years, not so much now. But, playing thumb out and
   using
   the
   strap, it still is uncomfortable and tends to put my hand over
   the rose
   or even closer to the neck. Perhaps just needs some time to
   adjust?
   Nigel North's strap configuration looks a bit different than
   what
   Paul
   uses:
   [1][2][2]https://youtu.be/c7wLjIF1N5o
   Thanks, again.
   On Wed, Jul 22, 2015 at 4:07 PM, Charles Mokotoff
   [2][3][3]mokot...@gmail.com wrote:
   Does anyone know where I could get this strap that Paul
   O'Dette
 is
   referring to in this interview?
   [1][3][4][4]https://youtu.be/tQ5vltWA0IY?t=15m27s
   I have tried jury-rigging something similar but it isn't
   working
 all
   that well for me. My lute looks about the same size as the
 instrument
   Paul is holding.
   Thanks for any words of wisdom on this, I've been wanting
   to
   sit
   differently for some time.
   --
 References
   1. [4][5][5]https://youtu.be/tQ5vltWA0IY?t=15m27s
 To get on or off this list see list information at

   [5][6][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   References
   1. [7][7]https://youtu.be/c7wLjIF1N5o
   2. mailto:[8][8]mokot...@gmail.com
   3. [9][9]https://youtu.be/tQ5vltWA0IY?t=15m27s
   4. 

[LUTE] Re: Sigismund Weiss C minor concerto Dresden

[Robert Barto]

Already got it

thanks to Peter Steur.


---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
https://www.avast.com/antivirus




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Sigismund Weiss C minor concerto Dresden

[Robert Barto]

Already got it.
Many thanks to Peter Steur.


---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
https://www.avast.com/antivirus




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Sigismund Weiss C minor concerto Dresden

[Robert Barto]

   Hi lutefriends,
   Does anyone have a digital copy of the facsimile of this? It's the 3rd
   piece in the unpublished 6th book of Dresden?
   A friend is looking for it, and my copy seems to be avoiding me in one
   of the piles of music around here.
   Many thanks,
   Robert
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. https://www.avast.com/antivirus
   2. https://www.avast.com/antivirus


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Sigismund Weiss C minor concerto Dresden

[Robert Barto]

   Hi lutefriends,
   Does anyone have a digital copy of the facsimile of this? It's the 3rd
   piece in the unpublished 6th book of Dresden.
   A friend is looking for it, and my copy seems to be avoiding me in one
   of the piles of music around here.
   Many thanks,
   Robert
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. https://www.avast.com/antivirus
   2. https://www.avast.com/antivirus


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Milan Fantasia 12 with dedillo

[Robert Barto]

   [1]https://youtu.be/hilComFz8mM
   By the way, I think I presented the first dedillo vs. figueta
   comparison a bit too soon. I've only been trying dedillo for a few
   months in my spare time and have been doing figueta on and off for more
   years than I'd care to mention. While comparing takes for the videos
   for Fantasy 11 I was often not sure myself which technique was being
   used. I'll continue to give dedillo a chance for a while and am curious
   to see how it develops.
   I'm beginning to appreciate more and more Milan's unique style in the
   16th century lute and vihuela repertoire. There's really nothing else
   like it, is there?
 __

   [2]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [3]www.avast.com

   --

References

   1. https://youtu.be/hilComFz8mM
   2. http://www.avast.com/
   3. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] dedillo vs. figueta

[Robert Barto]

   Here are two versions of Milan's Fantasy #10. One with dedillo and one
   with figueta (p-i thumb under)(Fantasies 10, 11 and 12 are the
   introductory dedillo pieces if I understand correctly.)
   There is actually not that much dedillo in this piece. It seems to be
   an exercise for an irregular dedillo run that happens fairly often in
   Milan. It involves sliding the forefinger over the first two courses
   and then again over the 2nd and 3rd courses in the middle of the run.
   This runs occurs 6 times in the piece with slight variations (the first
   time is in measure 4). None of the other runs seem to be designed for
   dedillo. (The two voice sequences at the end could be done with dedillo
   but I see no advantage to that technically or soundwise. If anyone sees
   that in the Spanish text Milan says otherwise, please let me know.)
   [1]https://youtu.be/MZ4rItMvq1Y
   [2]https://youtu.be/lVVpGYoOG3M
 __

   [3]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [4]www.avast.com

   --

References

   1. https://youtu.be/MZ4rItMvq1Y
   2. https://youtu.be/lVVpGYoOG3M
   3. http://www.avast.com/
   4. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: dedillo

[Robert Barto]

Hi Martin,

I'm not sure how clearly one can see on the videos, but i think I mainly 
just move the finger leaving the last joint fairly loose. In some 
situations the thumb can be planted, but sometimes one has to land on 
the thumb to come back up, and then it has to be free.


Both thumb out and thumb under have certain advantages but with thumb 
under angle it's possible to almost entirely avoid the nail on the back 
stroke.


Robert


---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
http://www.avast.com




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: dedillo

[Robert Barto]

Thanks for your interest and kind responses.

I'm playing on a viola da mano (60cm) by Richard Fletcher with a capo on 
the second fret. (I have a smaller one on order.)


I have a few test videos of dedillo here:

https://youtu.be/Oe0TYyR8TM4

and here from a few months ago in a more thumb out phase:

https://youtu.be/6565xf2yQbA

Please let me know if they are of any use and how they could be better. 
(I'm just using my phone camera.)










---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
http://www.avast.com




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] dedillo

[Robert Barto]

   [1]https://youtu.be/Cn6fmQXP2Pc
   Here is a first attempt at dedillo with one of the Milan Fantasies.

 __

   [2]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [3]www.avast.com

   --

References

   1. https://youtu.be/Cn6fmQXP2Pc
   2. http://www.avast.com/
   3. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: 1st inversion F chord - was Re: Michael Fink's split 4th article

[Robert Barto]

Hi Martin and Sean,

This is a very pretty little chord. If one uses a rest stroke with the 
thumb, it is actually easier to play the octave alone on the treble side 
of the bass.


It is also interesting that the same chord would come out if one split 
the 3rd course.


This one sounds a bit fuller though. It may be quicker just to grab that 
octave than to place the finger carefully for the split course (which 
also alters the intonation slightly).


Robert



---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
http://www.avast.com




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vihuela Stringing

[Robert Barto]

   It seems we have at least 5 different threads going here under the same
   heading. I think several are still worth discussing so maybe we could
   divide them up somehow?
   1. split string early 16th century where one fingers only one string of
   the course but strikes both Capirola etc.
   2. hitting just one string of a bass course on baroque lute (Mouton,
   Beyer etc. )
   3. Corrette striking  just octave  on guitar 1760
   4. Renaissance guitar split 4th as suggested by Michael Fink
   5. vihuela stringing octaves or not
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. http://www.avast.com/
   2. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Michael Fink's split 4th article

[Robert Barto]

   I'm very open to Michael's ideas, but am really not sure about a few
   things. Could we collectively look at Carlo Cantu playing the guitar
   (easy to google) and decide whether he is playing a 4 or 5 course
   guitar? There sure is plenty of space for 10 pegs.
   If he really split his 4th course, why did he do it for both hands?
 __

   [1]Avast logo

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. http://www.avast.com/
   2. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Michael Fink's split 4th article

[Robert Barto]

It's the same thing with the Cellier illustration (search Cellier 4 
course guitar pictures).


Why split for both hands? It makes no sense if you just want one octave 
or the other.



---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
http://www.avast.com




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Michael Fink's split 4th article

[Robert Barto]

I'm sorry if I was unclear.

What I'm saying is that in both pictures the 4th course is wider for
both the right and left hands which does not support Michael's ideas.
If you're going to split the course, then only for the right hand.

The Cantu picture looks to me like  a 5 course with single 4th and 5th
for whatever reason. The length of the head looks almost exactly right
for 10 pegs. I would be interested what other people on the list might
think about the instrument.

The Cellier drawing is also widely spaced for the left hand 4th course.
I'm just saying I cannot imagine why. Again this would not support
Michael's idea.

I don't recall mentioning 6 4 chords but I think that with these higher pitched 
instruments
they are not much of a problem. If you play the pieces say, on the inner
strings of a vihuela, then these chords are
much more disturbing.

Hope that's clearer.


---
Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprüft.
http://www.avast.com




To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Vihuela stringing

[Robert Barto]

   Thanks for the interesting comments on Spain vs. Italy
   A few years ago there was some discussion that the vihuela sources
   weren't so clear about the strict no octave policy. What is the current
   thinking on this?
   --
   Sent from my Android phone with GMX Mail. Please excuse my brevity.

   Antonio Corona abcor...@cs.dartmouth.edu wrote:

 Dear friends,
 Regarding the lute in Spain, Douglas Alton Smith, as Dan points out,
 supports a myth, albeit a long established one. And I must agree
 with
 Monica in that it is indeed a rather silly one. For those who can
 read
 Spanish, my book El LaA-od en la EspaA+-a Cristiana (The Lute in
 Christian Spain) is about to appear, published by the Spanish
 Sociedad
 de la Vihuela, el LaA-od y la Guitarra. I hope It my prove helpful
 in
 dispelling the absurd notions about the alleged mistrust of things
 Moorish, besides paying homage to Diana Poulton and Pepe Rey's
 contributions to the matter.
 There is plenty more information and documents about the lute in
 Spain
 than those advanced by Smith, and they attest to a widespread use of
 the instrument there. As a matter of fact,I had already delved into
 the
 matter in my dissertation, and arrived at the conclusion -which I
 now
 can support even better- that the truly aristocratic instrument in
 Renaissance Spain was not the vihuela (as it is generally held), but
 the lute.
 With best wishes,
 Antonio
 __
 From: Dan Winheld dwinh...@lmi.net
 To: Monica Hall mjlh...@tiscali.co.uk; Mark Seifert
 seifertm...@att.net
 Cc: Lutelist lute@cs.dartmouth.edu
 Sent: Wednesday, 6 May 2015, 16:53
 Subject: [LUTE] Re: Spain vs. Italy
 Satan's Advocate could well quote from Douglas Alton Smith's support
 of
 the rather silly myth from his work, A History of the Lute, p.221
 Chapter VIII The Vihuela in Renaissance Spain:
 At least one musician, Rodrigo Castillo, who was denoted as a
 lutenist
 in Spanish court records of 1488, was called a vihuelist in 1500.
 Instrument makers who were commonly called 'laudero' in the 15th
 century
 were called 'violero' in the 16th.
 -And of course he's got footnotes giving documentation. For what
 it's
 worth- Can anyone corroborate, contradict?
 (Incidentally, I could have been legitimately labeled Lutenist in
 1999
 and Vihuelist in 2002).
 Dan
 On 5/6/2015 12:18 PM, Monica Hall wrote:
  Briefly - I think the idea that the Spanish didn't like the lute
  because it had Moorish associations is a rather silly myth.
  Monica
 
 
  - Original Message - From: Mark Seifert
 [1]seifertm...@att.net
  To: Ron Andrico [2]praelu...@hotmail.com; Christopher Wilke
  [3]chriswi...@cs.dartmouth.edu; Dan Winheld
 [4]dwinh...@lmi.net; Rob
  MacKillop [5]robmackil...@gmail.com; Howard Posner
  [6]howardpos...@ca.rr.com; David Van Ooijen
 [7]davidvanooi...@gmail.com
  Cc: 'Lutelist' [8]lute@cs.dartmouth.edu
  Sent: Wednesday, May 06, 2015 1:51 PM
  Subject: [LUTE] Re: Spain vs. Italy
 
 
  Regarding the Spain versus rest-of-Europe issue ( a most
 fascinating
  topic--thanks for introducing it, Robert Barto ), English Prof
  Brittany
  Hughes said that one reason the Spanish kings/queens so brutally
  expelled or forced conversion on the Moors (1523 was an
 important
  date of escalation, and then the worst of the Inquisition was
 imposed
  in 1609) was that the Turks liked to raid the coast of Spain from
  their
  ships, escalating anti-Muslim hatred throughout this period. She
  didn't mention why the Jews were so oppressed, as they seem like
  innocent bystanders. I wonder if they also tried to eliminate the
  lute, because it was seen as a Moorish instrument, or the lute
 belly
  reminded them of something really evil, like the belly of a
 pregnant
  woman, heaven forbid.
  In defense of Spain, Dr. Teofilo Ruiz of UCLA in his Terror of
  History course said that the Spanish ended their witch hunting
  decades
  before England and Germany (and America). Maybe the adverse
  effects of
  eliminating Jews and Muslims helped them realize that getting rid
 of
  all their witches wouldn't improve anything.
  I had a really spooky/scary experience in 1973 after I got a
 minimum
  wage job vacuuming dust off the books in the dark stacks of
 Widener
  Library (built after the Titanic went down in honor of a son of a
  Boston Brahmin family). Was sitting on the cold concrete floor
  dusting
  a row of books when I encountered a black leather clad tome whose
  binding showed one word, my last name spelled correctly

[LUTE] Re: Vihuela stringing

[Robert Barto]

   Sorry. I didn't see all that stuff was still hanging on my first
   message of this thread. Please excuse the clutter.
   --
   Sent from my Android phone with GMX Mail. Please excuse my brevity.


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Spain 2, Italy 1 in extratime

[Robert Clair]

Some rather sweeping generalizations here. 

I’m currently reading Wolf Hall. My knowledge of Tudor England is not what it 
could be so the book often sends me Googling. I every case I’ve encountered 
so far it seems that Ms. Mantel has done her research.

As for adaptations - while I haven’t seen it I’m given to understand that 
The Tudors was done as a bit of a bodice ripper. The BBC  production of Wolf 
Hall is most definitely not. 

Aside from “Ah, Robin” played on lute over the opening, the music falls in 
two categories: Any music that is mise en scene - that the characters on screen 
would have heard - is real 16th C music. (There is a shawm band.)  There is 
also a modern background score of which the best I can say is that it it 
unobtrusive.

Beyond music, the BBC has gone to a staggering amount of work to get the 
visuals correct. Check out some of the material here:

http://www.bbc.co.uk/programmes/p02gfy02 
http://www.bbc.co.uk/programmes/p02gfy02

I’ve also just seen the excellent Royal Shakespeare Company production. (Wolf 
Hall and Bring Up the Bodies - 3 hours each on the same day with a break for 
dinner.) Which brings up a question for Ron: Does your antipathy to historical 
fiction extend to the Shakespeare history plays? You could, if you like, argue 
that Shakespeare was a better writer than Ms. Mantel and Mike Poulton (who did 
the RSC adaptation) but is there any fundamental difference in what they are 
doing?



--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Spain vs. Italy

[Robert Barto]

   Hi all,
   In the early 1500s, why are dances so common in Italian lute music and
   so rare in the vihuela rep. ?
   Thanks
   --
   Sent from my Android phone with GMX Mail. Please excuse my brevity.


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Spain vs. Italy

[Robert Barto]

   Hi all,
   In the early 1500s, why are dances so common in Italian lute music and
   so rare in the vihuela rep. ?
   Thanks
   --
   Sent from my Android phone with GMX Mail. Please excuse my brevity.


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Tuner with preset temperaments

[Robert Clair]

 On Mar 7, 2015, at 5:36 AM, Anthony Hind agno3ph...@yahoo.com wrote:
 
 Bob, it sounds as though it combines the best of the expensive Peterson 
 strobe and the temperaments of cleartune, but might it be a little cluttered? 
 Has anyone done a comparison? Does it have the same pitch calibration 
 possibilities as the Cleartune?
 Regards
 Anthony
 
 On 5 mars 2015, at 15:31, Robert Clair rcl...@elroberto.com wrote:
 
 If you have an iPhone or iPad ( or iPod Touch) check out Pitchlab:
 
 https://itunes.apple.com/us/app/pitchlab-guitar-tuner-free/id732850624?mt=8
 
 Basic app is free but you’ll probably want to spend the three bucks and get 
 the full set of displays.
 Easy to set up, lots of useful things, especially a strobe tuner display.
 
 …Bob
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Tuner with preset temperaments

[Robert Clair]

 
 Bob, it sounds as though it combines the best of the expensive Peterson 
 strobe and the temperaments of cleartune, but might it be a little cluttered?

The various displays are on different views. You can show 1 view on the screen 
or two views side by side. The latter is slightly crowded on an iPhone but just 
fine on an iPad.

 Has anyone done a comparison?

In what sense?



 Does it have the same pitch calibration possibilities as the Cleartune?

It t is very easy to set the temperament, reference frequency, transposition 
and some technical stuff.

Why not download the free version and checkin out yourself?

…Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Cambridge goes on-line.

[Robert Clair]

http://www.cam.ac.uk/research/news/crown-jewels-of-english-lute-music-go-online?utm_medium=emailutm_source=alumnewsletter
 
http://www.cam.ac.uk/research/news/crown-jewels-of-english-lute-music-go-online?utm_medium=emailutm_source=alumnewsletter

Apologies if someone already posted this.

…Bob
--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: 16th century tuning and stringing

[Robert Barto]

   Dear Martin,
   Thanks. That does make sense.
   This would imply then that gradually in all of Europe this conversion
   had taken place and was finally reaching England. Do we have any other
   evidence of this from the sources?
   Robert
   --
   Sent from my Android phone with GMX Mail. Please excuse my brevity.

   Martin Shepherd mar...@luteshop.co.uk wrote:

 I think it's likely that Dowland was referring only to the 6th
 course,
 courses 4 and 5 having been already converted to unisons by that
 time. He says specifically, In that place which we call the sixth
 string - when he could easily have said something like all the
 basses. I suspect even when he had his 6th course in unison, he had
 the 7th-9th courses still in octaves (hard to imagine a unison 9th
 course in gut).
 Martin
 On 17/01/2015 01:13, Robert Barto wrote:
  Thank you all for this so far.
  I just checked out Barley (1596) which is apparently a revision of
 the
  previous English translation of le Roys instructions. It clearly
 calls
  for octaves on 4, 5 and 6. So this tuning seems to have been
 propagated
  in the tutors in late 16th century England. (Matthew Spring in his
  Lute in Britain suggests that this might not have reflected
 practice
  at this time (1596) as in 1603 Thomas Robinson already calls for
  unisons.)
  I reread the Dowland comments in the Varietie as well. It sounds
 to me
  as if he is at least saying that he prefers unisons, and that
 octaves
  were being used more in England at than elsewhere. I cannot
 imagine
  that he is only talking about the 6th course. Perhaps the style
 had
  already been changing on the continent.
  __
 
  [1][avast-mail-stamp.png]
 
  Diese E-Mail wurde von Avast Antivirus-Software auf Viren
 geprueft.
  [2][1]www.avast.com
 
  --
 
  References
 
  1.[2] http://www.avast.com/
  2.[3] http://www.avast.com/
 
 
  To get on or off this list see list information at
 [4] http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 ---
 This email has been checked for viruses by Avast antivirus software.
 [5]http://www.avast.com

References

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

[LUTE] 16th century tuning and stringing

[Robert Barto]

   Hello lute friends,
   How many sources do we have in all of Europe from @1500-1600 that tell
   exactly how the lute was tuned concerning the octaves on the 4,5 and
   6th courses?
   Thanks,
   Robert
 __

   [1][avast-mail-stamp.png]

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. http://www.avast.com/
   2. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] 16th century tuning and stringing

[Robert Barto]

   Thank you all for this so far.
   I just checked out Barley (1596) which is apparently a revision of the
   previous English translation of le Roys instructions. It clearly calls
   for octaves on 4, 5 and 6. So this tuning seems to have been propagated
   in the tutors in late 16th century England. (Matthew Spring in his
   Lute in Britain suggests that this might not have reflected practice
   at this time (1596) as in 1603 Thomas Robinson already calls for
   unisons.)
   I reread the Dowland comments in the Varietie as well. It sounds to me
   as if he is at least saying that he prefers unisons, and that octaves
   were being used more in England at than elsewhere. I cannot imagine
   that he is only talking about the 6th course. Perhaps the style had
   already been changing on the continent.
 __

   [1][avast-mail-stamp.png]

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. http://www.avast.com/
   2. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] 16th century tuning and stringing

[Robert Barto]

   sorry, meant to say octaves were being used more in England at that
   time than elsewhere
 __

   [1][avast-mail-stamp.png]

   Diese E-Mail wurde von Avast Antivirus-Software auf Viren geprueft.
   [2]www.avast.com

   --

References

   1. http://www.avast.com/
   2. http://www.avast.com/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: 2014

[Robert Clair]

Well, if you must:

http://www.youtube.com/watch?v=1nlfUAsTZXo
--

And while we're on the subject:

http://www.youtube.com/watch?v=Ew3v568fmq8



--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: New example for the Lute Art pages

[Robert Clair]

still lifehttp://www.epilogue.net/art/21154-i-vampiri-il-liuto Just look at 
that excellent plucking-hand technique! Regards, Daniel


Lute and hand position borrowed from Bartolomeo Veneto:

http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=772handle=li

..Bob
--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Identify Painting?

[Robert Clair]

You're all probably right. I'll blame it on presbyopia - I didn't put on my 
reading glasses and take a close look at the image. But it is curious why they 
used a photo - Alpha seems to use real paintings for their early music CD 
covers. (Including, oddly, a couple of Holbein drawings for two CD's of the 
Bach unaccompanied violin sonatas and partitas.)

..bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Identify Painting?

[Robert Clair]

Can anyone identify this painting:

http://www.elroberto.com/pix/LutePicture.pdf

This copy was on some promotional material from the French record label Alpha 
Productions.

thx

Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rose?

[Robert Clair]

Balsa wood is a bad choice: It's soft fuzzy and not very strong. It *is* very 
light, which is why it is used for model airplanes. I'll leave it to the real 
lute builders to suggest something appropriate, but if you want something that 
is available in a good hobby shop, use basswood. It is stronger, smoother, 
still workable with an X-acto knife and available down to 1/32 thick. It is 
the #1 wood for model trains. :-)

..Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Violin strings out of spider's thread (objective blind test?)

[Robert Compton]

Wasn't nylon originally discovered by research into spiderweb/silk  
materials, i.e. investigating the C-N peptide bond?   My chemistry  
experience is now 40 years outdated, but i seem to remember that tidbit.





Actually they have a brilliant survival strategy. Normally spiders  
do not co-operate, but in the case of emergency... Well they have  
had 400 million years to adapt to the events in nature... Compare  
that to the time span to ours...


Arto

On 07/03/12 20:20, cyndi...@netscape.net wrote:
Anyone from Australia? Scoop up this bounty of spider webs and  
make some lute strings for us!

http://www.bbc.co.uk/newsround/17273309



-Original Message-
From: alexandervoka...@verizon.net
To: Ron Andricopraelu...@hotmail.com
Cc: agno3phileagno3ph...@yahoo.com;  
tomt...@heartistrymusic.com; lutelute@cs.dartmouth.edu

Sent: Wed, Mar 7, 2012 9:54 am
Subject: [LUTE] Re: Violin strings out of spider's thread  
(objective blind test?)



I seriously doubt there is an interest in the mechanics of the  
subject on this
ist, which are rather complex. It matters to say that the spider  
silk research
s an immensely long and difficult endeavor, without a clear end in  
sight. The
ultured silk research, going on for some 600 years, still  
regularly surprises

he heck out of itself.
t is generally agreed that, with small variations, all the silks,  
be it moths
r spiders, or some fishes and mammals (yes!) consist of pretty  
much the same
lements - fibroin, based on the proteins similar to our hair and  
fingernails,
ust in somewhat different proportions and mixtures, and a glue  
holding

ilaments together, in case of moths and spiders - sericin.
he sometimes enormous strength of spider silk results not from its'
omposition, but rather from the spacial arrangement of the  
filaments, supported
y the smart bends and nicks with a judicial dab of glue here and  
there, both on
  micro and macro level. and this is where the enormous amount of  
research goes
n. TO make a useful musical strings, this spacial arrangement  
needs to be
vercome and some new one created, which cancels all the wonderful  
inventiveness
he spider just put into the process... The glue bits are melted in  
the process,
nd the fancy curly hair go straight, as the perm in the shower.  
Sure it gives
he one who makes such a string a painless pastime, and lots of it,  
and then
espect for being persistent, and girls and free drinks that  
follow. But as far
s the string goes, - nothing fancy here, exactly because of the  
necessary
traightening of the tiny filaments to arrange them laterally into  
the string.

his destroys the fancy spider's footwork.
uriously enough, the gut strings, on the other hand, completely  
preserve the
atices of arrangement among the filaments, as they are too strong  
and too fancy
o be destroyed by the processing and stretching. You see, the gut  
is never
aken apart into tiny filaments, as silk is. This gives gut strings  
all the

ualities we all love and enjoy.
O see the following links, remove spaces in http.
  t t p://web.mit.edu/course/3/3.064/www/slides/Ko_spider_silk.pdf
  t t p://www.economist.com/blogs/prospero/2012/01/spider-silk-va
  t t p://theheritagetrust.wordpress.com/2012/01/25/rare-spider- 
silk-textile-on-display-at-the-victoria-albert-museum/


lexander r.

n Wed, 07 Mar 2012 13:23:12 +
on Andricopraelu...@hotmail.com  wrote:

I feel inclined to point out that we have one of the foremost
 authorities on silk strings contributing to this list, Alex  
Rakov.
 While spider silk may vary slightly from typical silkworm  
stuff, I'm

 sure they behave in a similar fashion.  Alex?
 RA

To get on or off this list see list information at
ttp://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: tuning software?

[Craig Robert Pierpont]

Has anybody gotten this to work on Windows 7? It seems to run fine
   except that I can't get it to recognize any sound input.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Sat, 2/4/12, Sam Chapman manchap...@gmail.com wrote:

 From: Sam Chapman manchap...@gmail.com
 Subject: [LUTE] Re: tuning software?
 To: David van Ooijen davidvanooi...@gmail.com
 Cc: lutelist Net Lute@cs.dartmouth.edu
 Date: Saturday, February 4, 2012, 4:19 PM

  WinTemper is pretty good:
  [1][1]http://wintemper.com/
  Best,
  Sam
  On 29 January 2012 17:41, David van Ooijen
  [2][2]davidvanooi...@gmail.com wrote:
It has come up, and I even had something installed on my computer
once, but I lost all. Does anybody use tuning software for Windows
and/or Mac, and if so, any feedback on the software used?
David
--
***
David van Ooijen
[3][3]davidvanooi...@gmail.com
[4]www.davidvanooijen.nl
***
To get on or off this list see list information at
[5][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
  Sam Chapman
  Oetlingerstrasse 65
  4057 Basel
  (0041) 79 530 39 91
  --
   References
  1. [5]http://wintemper.com/
  2. mailto:[6]davidvanooi...@gmail.com
  3. mailto:[7]davidvanooi...@gmail.com
  4. [8]http://www.davidvanooijen.nl/
  5. [9]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

   --

References

   1. http://wintemper.com/
   2. file://localhost/mc/compose?to=davidvanooi...@gmail.com
   3. file://localhost/mc/compose?to=davidvanooi...@gmail.com
   4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   5. http://wintemper.com/
   6. file://localhost/mc/compose?to=davidvanooi...@gmail.com
   7. file://localhost/mc/compose?to=davidvanooi...@gmail.com
   8. http://www.davidvanooijen.nl/
   9. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Beeswax as nut lubricant.

[Craig Robert Pierpont]

Naphtha (lighter fluid) will remove it without hurting most finishes.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Tue, 1/17/12, Herbert Ward wa...@physics.utexas.edu wrote:

 From: Herbert Ward wa...@physics.utexas.edu
 Subject: [LUTE] Beeswax as nut lubricant.
 To: lute@cs.dartmouth.edu
 Date: Tuesday, January 17, 2012, 9:31 PM

   I just got 5 ounces of cosmetic grade beeswax.  This is plenty
   for me, so if you would liks a free sample (a few grams) and
   you're willing to send me a stamped self-addressed envelope,
   send me email at [1]wardhj...@hotmail.com.
   And, while we're on the subject, how might one remove
   beeswax from the string and nut?  The Wikipedia article
   mentions turpentine as a solvent.
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/mc/compose?to=wardhj...@hotmail.com
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Pink Album

[Robert Clair]

A bit of an odd request, but there is an old ( ~ 1960's I think) record of 
Renaissance ensemble music - Susato and such. I don't remember the title but it 
was an RCA record with a very pink jacket. Walter Gerwig played lute in the 
band.

Does anybody have a digitized copy that they would be willing to share? I don't 
think it was ever reissued on CD. I have the LP somewhere but it's buried in a 
storage locker and, anyway, I no longer have a turntable. 

Thanks...

..Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] More...

[Robert Clair]

OK. Google before you post.

The album title was Dance Music of the Renaissance.

It was reissued on CD as Tanzmusik Der Renaissance with the band listed as 
Collegium Aureum and a decidedly non-pink cover. (I verified that it is indeed 
the same recording by listening to a couple of the tracks on the Australian 
iTunes store.)

It is irritatingly unavailable in the US either as a CD or a download, despite 
being available in the Australian, Canadian and UK iTunes stores. I was about 
ask my Canadian relatives to get it for me, but I found a used copy at a 
reasonable price on the Amazon UK store.

(Why do I want this? Pure nostalgia - it was the first Renaissance ensemble 
music recording I ever heard.)

..Bob
--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Pulling on your gut harp strings

[Craig Robert Pierpont]

The Bow Brand Harp Strings are a lacquered beef gut. A better choice
   may be Pirastro strings which are a oiled sheep gut string. They offer
   a lacquered also so be sure to request the oiled if that is what you
   want. They are hard to find on the Pirastro website so -
   See:
   http://www.harpconnection.com/storepages/category1-page38.html
   Sit down before you look at the price.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Mon, 11/28/11, Rob MacKillop robmackil...@gmail.com wrote:

 From: Rob MacKillop robmackil...@gmail.com
 Subject: [LUTE] Re: Pulling on your gut harp strings
 To: Anthony Hind agno3ph...@yahoo.com
 Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
 Date: Monday, November 28, 2011, 4:34 AM

   I know these strings well, Anthony. A banjo company repackaged some as
   a set of banjo strings for the 19th-century repertoire, and even called
   them the Rob MacKillop set, which surprised me as we had not discussed
   it. This caused Mimmo to cross me off his Christmas card list, but that
   is another story.
   The strings are good quality, BUT, they are heavily coated to make them
   water resistant. This is OK if you strike the string at a 90 degree
   angle, but for many it gave an audible squeak to each note. Some
   players loved them, some hated them. There were not enough sales, so
   the company stopped supplying them.
   I would not personally use them as lute strings.
   Rob
   www.robmackillop.net
   On 28 Nov 2011, at 10:13, Anthony Hind [1]agno3ph...@yahoo.com wrote:
Dear Lutenists
Knowing that some of you use KF Harp strings on your
   theorbos, some might also like to try gut harps stings.
Indeed, yesterday, I was astonished to discover the existence of
   another small? gut string maker (well much in the way Columbus
   discovered the Americas, as the company has been in existence in
   Norfolk since 1905).
The name of the company is Bow brands (did they perhaps originally
   make strings for bows and tennis rackets?); at present company
   director, Carolyn Clarke says they are now specializing in harp
   strings, and also that they are probably the largest harp string maker
   in the world.
%
I am no Royals watcher, but the article on web, also informs me
   that these were the strings used by the Royal Harpist,  Claire Jones,
   for a recent royal wedding. I did not know there was a royal harpist,
   but It seems that the Bow brand strings are used by Salvi (which the
   article calls the Stradivarius of harp makers), who in 2006 made the
   Royal Harp to celebrate after Prince Charles reinstated the position of
   Royal Harpist (perhaps as Charles is Prince of Wales, the harp being a
   symbol of Wales).
   
[2]http://tinyurl.com/d6haflu
(You can see a film of their string making next to the article, and
   also photos of string making here:
[3]http://tinyurl.com/cgaghfq
In relation to the increasing difficulty for gut string makers to
   source good gut due to EU BSE regulations and red-tape, Carolyn
   Clarke is quoted in a recent Telegraph article as saying, It's a bit
   stupid. The gut is bleached and varnished in string  making so it poses
   no risk to humans. And why would anyone chew on a harp  string?
[4]http://tinyurl.com/bm2sluu
%
I hope this company is not having too much difficulty sourcing gut
   (just severe headaches wading through the redtape), but those of you
   who might want to try them out on your theorbos, or indeed your harps,
   might want to do so fairly quickly.
Regards
Anthony
   
   
   
   
To get on or off this list see list information at
[5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/mc/compose?to=agno3ph...@yahoo.com
   2. http://tinyurl.com/d6haflu
   3. http://tinyurl.com/cgaghfq
   4. http://tinyurl.com/bm2sluu
   5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Pulling on your gut harp strings

[Craig Robert Pierpont]

  While the harp does sometimes get played out of doors, I had deleted
   the out doors reference from my copy of your post to indicate that
   the tuning is the reason for the lacquer.
 Keeping a 47 stringed instrument in tune is no small feat and any
   help is worth considering. The lacquer also adds considerably to the
   life of the string as it reduces the fraying.
 Additionally, oiled strings need to be re-oiled periodically and the
   lacquer eliminates the need for this.
   Craig
   --- On Mon, 11/28/11, Anthony Hind agno3ph...@yahoo.com wrote:

 From: Anthony Hind agno3ph...@yahoo.com
 Subject: Re : [LUTE] Re: Pulling on your gut harp strings
 To: Craig Robert Pierpont crpierp...@yahoo.com
 Date: Monday, November 28, 2011, 9:23 AM

   But which is it, or both; do you play the harp in out doors?
   Anthony
 __

   De : Craig Robert Pierpont crpierp...@yahoo.com
   A : lute@cs.dartmouth.edu lute@cs.dartmouth.edu
   Envoye le : Lundi 28 Novembre 2011 16h21
   Objet : [LUTE] Re: Pulling on your gut harp strings
   Bingo!
 Craig
 --- On Mon, 11/28/11, Anthony Hind [1]agno3ph...@yahoo.com wrote:
 I wonder why the harp strings needed to be water resistant.--- is it
   a
 way of making sure they stay in tune, by not absorbing humidity?
 --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/mc/compose?to=agno3ph...@yahoo.com
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Gut strings

[Craig Robert Pierpont]

Light the end of one with a match. It will be obvious pretty quickly
   if they are gut or synthetic.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Thu, 11/17/11, Monica Hall mjlh...@tiscali.co.uk wrote:

 From: Monica Hall mjlh...@tiscali.co.uk
 Subject: [LUTE] Re: Gut strings
 To: Francesco Tribioli tribi...@arcetri.astro.it
 Cc: Lutelist lute@cs.dartmouth.edu
 Date: Thursday, November 17, 2011, 9:39 AM

Kuerschner - from the catalog they say: plain gut (polyester) so I
   wonder
if those strings are gut or polyester.
   I was wondering about that too!   I last bought a set of Kuerchner
   strings
   for my baroque guitar from a dealer in the UK in May and they are gut
   as far
   as I can tell but perhaps I have been mislead.
   Their list of alternative methods of stringing the baroque guitar
   include
   two
   which are entirely their own invention - 2 bourdons on the 5th course
   but
   octave stringing on the 4th... and two treble strings on the 5th course
   and
   two bourdons on the 4th course.
   Perhaps they are not as reliable as they seem...
   Monica
   
Pyramid made gut strings in the past but I don't see gut mentioned
anywhere
in their site now.
   
Stoppani - I heard that he makes only bass and midrange strings, not
chantarelles, but I cannot say because there isn't a string catalog
   on his
site.
Kathedrale - I don't know: there isn't a string catalog either
   
Both Stoppani and Kathedrale seems to me like small companies,
   probably
not
able to fill the string shortage.
   
The situation doesn't look bright...
   
Francesco
   
-Original Message-
From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On
Behalf Of Bruno Fournier
Sent: Thursday, November 17, 2011 3:39 PM
To: [3]b...@symbol4.de
Cc: [4]simon.lamb...@stfc.ac.uk; [5]lute@cs.dartmouth.edu
Subject: [LUTE] Re: Gut strings
   
   Hi All,A
   
   One thing for sure, when I spoke to the Sofracob owner last year
before
   he closed, he mentioned that one of the main reasons and
   problems, was
   the mad cow disease issues in France over the last few years, and
   that
   it was becoming more and more difficult to obtain gut. A So who
   knows
   what the real story is. A Did anyone ask Mimmo directly?
   
   regards
   
   BrunoA
   
   Montreal, Canada
   
   On Thu, Nov 17, 2011 at 9:00 AM, [1][6]b...@symbol4.de wrote:
   
   A  Does anyone know if Kuerchner in Germany is still making gut
   strings?
   A  Or Kathedrale (?).
   
 A  It is quite funny - and also a little bit alarming- to see,
   how
 the EU
 A  bureaucracy becames the projection area for the strangest
   ideas
 and
 A  fears. A reputation well earned, some may say, but a little
   bit
 more of
 A  horse sense is recommended when one reads announcements like
   the
 one
 A  about gut strings - (or, before, the one about the alleged
 prohibition
 A  of natural medicine).
 A  In fact many people here in Brussels are quite normal. I as
   a
 German
 A  was at once sure that it must be a hoax, because we eat
   every day
 A  12.689.344 sausages, many of them with a delicious skin of
   sheep
 gut. I
 A  called a big producer of those so called saitling sausage
 skins: they
 A  are producing happily and will go on forever. The same with
 Kuerschner
 A  strings.
 A  I asked people form the health department of the EU
   commission:
 guts no
 A  topic at all.
 A  If you want to read really strange laws, read your national
 legislation
 A  :))
 A  So: No idea, where the gut story comes from.
 A  Perhaps we should still start in the good tradition one of
   those
 A  internet petitions ;)
 A  best wishes (while wishing is still allowed)
 A  Bernd
 A  --
   
   To get on or off this list see list information at
   [2][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --
   
   A
   
   Bruno Cognyl-Fournier
   
   A
   
   [3]www.estavel.org
   
   A
   
   --
   
References
   
   1. mailto:[8]b...@symbol4.de
   2. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. [10]http://www.estavel.org/
   
   
   

   --

References

   1. file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
   2. file://localhost/mc/compose?to=lute-...@cs.dartmouth.edu
   3. file://localhost/mc/compose?to=b...@symbol4.de
   4. file://localhost/mc/compose?to=simon.lamb...@stfc.ac.uk
   5. file://localhost/mc/compose?to=lute@cs.dartmouth.edu
   6. file://localhost/mc/compose?to=b...@symbol4.de
   7. 

[LUTE] Re: long strings?

[Robert Margo]

   Has anyone done business Chris Henriksen/Boston Catlines lately?  I
   was once very satisfied dealing with him, but I don't think I've
   actually bought any strings in this century, and now that I finally
   need new ones, I feel like a string virgin again.



   I buy strings from him all the time (e.g. such as at the recent Boston
   Early Music Festival).  Superb quality of service.

   On Sun, Aug 28, 2011 at 5:52 PM, howard posner
   [1]howardpos...@ca.rr.com wrote:

   On Aug 28, 2011, at 2:29 PM, Garry Warber wrote:
I'm thinking theorbo purchase...  Where does one get a nylon theorbo
  14-course string set?

 Never mind the strings; where did you find a nylon theorbo?

I measured my 8-course lute strings, which went
  from 100cm to 110cm; obliviously too short...  Please, no you must
   use

  gut(!) nonsense.  Are theorbo strings bought individually?  Please
  name sources, if possible.

 Yes, you should buy the strings individually.  Lutes and theorbos
 are not standard lengths, so an all-purpose set of them, such as
 you can buy for a guitar, makes no sense.
 Any instrument you buy should have strings already on it, so if the
 seller can tell you what they are, you can make changes as it suits
 you.  And BTW, for long theorbo basses, gut works fabulously well
 and lasts forever.
 You can find a list of string makers/sellers here:
 [2]http://www.unm.edu/~ctdbach/music/lute_strings.html
 Has anyone done business Chris Henriksen/Boston Catlines lately?  I
 was once very satisfied dealing with him, but I don't think I've
 actually bought any strings in this century, and now that I finally
 need new ones, I feel like a string virgin again.
 --

   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:howardpos...@ca.rr.com
   2. http://www.unm.edu/~ctdbach/music/lute_strings.html
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: American luthiers

[Robert Margo]

   I own a 10-course by David Fitzpatrick.  I ordered one of David's
   instruments after hearing an example played at a lute-tasting (LSA
   2008) by Paul O'dette.



   I am very pleased with the instrument.  It is very loud, and projects
   extremely well in a concert hall.   I would say it is moderately easy
   to play (it is not a lute for a beginner).  Scale length is 66cm, tuned
   in F.   Currently I have it strung in nylgut.  Build quality is
   excellent.



   I believe that David is a long-time member of LSA. He is a very
   experienced builder, highly professional (I think his main business is
   custom woodworking).   Wait time and prices are very reasonable (or
   rather were, I am not sure about currently).  He was very responsive to
   my requirements, easy to get in touch with, in short a pleasure to work
   with.  FWIW, I also own a Larson (barqoue guitar) and two lutes by
   Jason Petty (8-course and 13-course).  The Fitzpatrick is definitely on
   the same level as the Larson or Petty lutes.



   David builds his own cases.  They are serviceable but probably a
   professional will want to order a Kingham (or something similar).   I
   use David's case as well as a soft case by Colorado Case Company.



   Bob Margo

   On Sat, Aug 6, 2011 at 3:15 PM, Edward Mast [1]nedma...@aol.com
   wrote:

 A guitarist friend of mine - not yet a member here - wants to get a
 lute and asked my advice.   He would like to get from a maker in
 this country (U.S.).  The only current maker whose instruments I
 have played and can absolutely recommend is Dan Larson, but I think
 his wait time is rather long right now.  Others listed in the Lute
 Quarterly are Richard Fletcher, David Fitzpatrick and Ken Brodkey.
 Has anyone here experience with the instruments of any of these
 makers?  -Edward
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

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

[LUTE] Re: nylon breaking point

[Craig Robert Pierpont]

Hi David,
   The tensile strength of Dupont Tynex  Nylon is 44600 lbs per square
   inch which Google translates as 31 356 903.3 kg / m2.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Sat, 6/25/11, David Tayler vidan...@sbcglobal.net wrote:

 From: David Tayler vidan...@sbcglobal.net
 Subject: [LUTE] nylon breaking point
 To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
 Date: Saturday, June 25, 2011, 4:05 PM

   Does anyone have a figure for nylon breaking point, not in pitch but
   in KG per mm?
   I'm sure I have seen this somewhere on the list, but can't find it.
   TIA
   dt
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Theorbo shipping within the U.S

[Robert Clair]

My theorbo, which I think is pretty much the same as Howard's, came (years ago) 
from Germany via UPS. Things to be careful of:

* UPS, and probably the others, have size limitations - maximum on length + 
width + height (or length + circumference, I forget which). The theorbo in its 
box was right at the limit.

* Make sure the instrument can't move in the case. Mine shifted in the case and 
sheared off a peg on the upper pegbox. (When it moved the first thing that 
encountered the top of the case was a peg.) Fortunately it was a spare peg for 
an alternate stringing and I just super-glued it back together. Wedge some foam 
between the top of the case and the sturdy part of the upper pegbox.

..Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] (Brief) Lute sighting

[Robert Clair]

We went to see Rango yesterday. The film features a Greek chorus in the form of 
a Mariachi band made up of four owls with Mexican accents. At one point Rango 
and the townspeople of Dirt attempt to get close to the bad guys by putting on 
a thespian performance. The owl guitarist (who also plays banjo in The Flight 
of the Valykyries) briefly switches to lute and the band plays a snippet of 
Sellinger's Round.

It went by so fast I thought I might have imagined it, but Ekko saw it too.

Many jokes over the head of children. How many kids are familiar with Fear and 
Loathing in Las Vegas, The Good, the Bad and the Ugly, or Chinatown?

..Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: New Savarez harp strings?

[Craig Robert Pierpont]

I have used these Savarez KF strings on harps for some time now. I
   understood the original post to be about some newer version.
   I ave no way to ferret the truth out of Savarez's promo material. I
   don;t know if they discovered the formula in a cave or have found some
   suitable type fishing line but, KFs are definitely different from some
   other fluorocarbon strings. They are not as bright as Kueschners. They
   stretch a mile when they are first put on but are quite stable after a
   couple of weeks. Even though they stretch a lot at first, they have a
   stiffer, less stretchy feel when they they settle in. In feel and sound
   they are more like gut than they are like the Tynex nylon often used
   for instrument strings.
   That they are available for harps just means that they are available in
   red and blue, in long lengths and are packaged for harps. Long lengths
   are the only thing that advantages a lutenist.
   They are available from:
   http://www.lyramusic.com/strings.html
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Fri, 12/10/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:

 From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
 Subject: [LUTE] Re: Re New Savarez harp strings?
 To: Lute List lute@cs.dartmouth.edu, Martin Shepherd
 mar...@luteshop.co.uk
 Date: Friday, December 10, 2010, 7:45 AM

  Thank you for this Martin and Anthony. These strings are interesting
   as
  a further alternative to loaded, wire wound and the 'spring' string;
  especially for those with a large number of instruments to string.
   I looked into these Saverez KF strings some time ago (are you sure
  they're 'new' out?) and had reports at the time that they were
   simply
  PVF(carbon) strings like any other of the same ilk. I'd be grateful
   for
  any clarification you can offer.
  Martin, you say they only become multi strand above 0.95mm dia but
   in
  Anthony's message he gives someone using thinner KF strings with the
  implication that they are these new multi-strand type.   'an example
   of
  the stringing he uses on a lute or 7c Vihuela :   g' KFN33 - d'
   KFN43 -
  a KFN52 - f KFN66-33 - c KFN84 - 43,5 - G KFN 112  - 57 - F KFN126 -
  62.'  Is it possible that the 'new' aspect of these KF strings are
   that
  Saverez now makes these multistrand strings at smaller diameters?
  What's the signoficance of the N in KFN? Does it mean new/nouveau
   type
  of KF strings?
  The Saverez website is next to useless only giving marketing blurb
   and
  lists of available sizes but says the strings are made from
   'composite
  fibres' which again implies that all sizes are multi strand. They
   also
  make the claim that they are new but perhaps they simply haven't
  updated an old website?
   ALLIANCE KF COMPOSITE, Strings for harp
   A real innovation! This strings are manufactured from composites fibres
  A production which requires fine and sophisticated technologies that
  only Savarez could implement until now.
  Thanks to the technologies, Savarez can produce strings which
  geometrical qualities are perfect and which resist to the tensions
  required by the harp. Many years of work and a focusing of
   complicated
  technologies were necessary to obtain such a result.
  A long work on the molecules, some molecular relationships and the
   rate
  of cristalinity allow Savarez to obtain an elongation and an
  elasticity identical to the ones of the gut.
  The density of these strings is extremely close to the one of the
   gut,
  so the comparison takes more value. So though gut strings still are
  very popular, Alliance KF strings have a perfect alternative sound
   for
  those who wish to take profit of gut sound and synthetic strings
  advantages.
  --- On Fri, 10/12/10, Martin Shepherd [1]mar...@luteshop.co.uk
   wrote:
From: Martin Shepherd [2]mar...@luteshop.co.uk
Subject: [LUTE] Re: Re New Savarez harp strings?
To: Lute List [3]l...@cs.dartmouth.edu
Date: Friday, 10 December, 2010, 12:19
  Dear All,
  I have been using these KF strings for some years.  The smallest
  diameter is .95mm, but this is the equivalent of a gut string of
   about
  1.07mm.  The one I use is KF95A, but I think the A just refers
   to
  the fact that it is a 2m length.  It works well as a 5th course on a
  renaissance lute (with an octave - I have not tried unison).  It
   looks
  more like a gut string, opaque rather than clear.  I have not tried
   the
  thicker strings, but it seems that it might be worth a try - I think
  Jacob Heringman may have done so.
  I think the next size down is .91mm, but it is a plain monofilament
   PVF
  string.  I think some people are using them for a unison 5th course.
  Best wishes,
  

[LUTE] Re: New Savarez harp strings?

[Craig Robert Pierpont]

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: New Savarez harp strings?

[Craig Robert Pierpont]

It seems that I remember hearing something of this but little more
   than you have mentioned here. I would be interested in finding out
   more. Being primarily a harpbuilder, I know most of the harp repair
   people likely to have been at this convention. (If it was the
   convention in St. Louis, I was there at the time.)  If your wife
   remembers the repairman's name or anything else that might help
   identify him, I can look him up and see what he knows and post it to
   this list.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Wed, 12/8/10, theoj89...@aol.com theoj89...@aol.com wrote:

 From: theoj89...@aol.com theoj89...@aol.com
 Subject: [LUTE] New Savarez harp strings?
 To: lute@cs.dartmouth.edu
 Date: Wednesday, December 8, 2010, 10:24 AM

   I was recently at a harp convention (wife is a harpist), and a harp
   repairman told me about a new advance in strings from Savarez,
   that they have produced a nylon string (NOT carbon fibre, nor other
   synthetic) that has fibres of some sort imbedded within,
   The fibres apparently lend both strength and warmth, to sound and feel
   more like gut.
   I checked the Savarez website but the site has scant information (at
   least in the english site).
   Does anyone know more about these strings, or is this just rumor/bad
   information?
   cheers, trj
   --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Bach on Theorbo

[Robert Compton]

These transcriptions are not for theorbo per se, but should be of use.

http://www.clivetitmuss.com/lutebooks.asp

Robert.


On Mar 18, 2010, at 6:59 AM, Graham Freeman wrote:


   Wise Luters,
   Does anyone know of a good edition of the Bach Cello Suites for
   theorbo? They've been recorded a number of times. Ideally, I'd  
make my

   own, but I'd like to see a good transcription of them first.
   With thanks,
   Graham Freeman
   --
   Dr. Graham Freeman
   Ph. D Musicology
   University of Toronto
   [1]freeman.gra...@gmail.com
   --

References

   1. mailto:freeman.gra...@gmail.com


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Drewies Accorde

[Robert Clair]

 I have two parts to Drewries Accordes, but maybe I'm missing something.
 dt
 
 One if them is a reconstruction.

Pretty old reconstruction. :-)
My copy of Jane Pickeringe (the book, not Jane) has both parts. Brogyntyn has 
one part and Ballet allegedly (don't have a copy here) has both parts.
..Bob




--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] IO read it somewhere, it MUST be true

[Robert Clair]

For a laugh (or to be appalled, as is your nature) take a look at:

http://en.wikipedia.org/wiki/Music_in_Elizabethan_Era

This is the single worst Wikipedia article that I've ever seen. There is hardly 
a single word that is correct in the Instruments section. The author's main 
source of information on the Elizabethan era and 16th C. music seems to be a 
long ago, dimly remembered visit to the East Dogpatch Renaissance Faire and 
Corne Dogge Festival.

I've seen Wikipedia pages that are marked as having been removed for 
inaccuracies. Does anyone know the procedure for getting an article removed?  
This one is beyond editing.

..Bob


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: IO read it somewhere, it MUST be true

[Robert Clair]

Get up on the wrong side of the bed this morning, did we Roman? Grownups do not 
write nasty flame-war-provoking posts at the least (imagined) provocation.  Did 
you even look at the article ? It needs replacing, not editing. While I do know 
more than a few things, I have a book contract with a deadline that is 
currently absorbing any writing energies I have. Writing  an encyclopedia 
article just doesn't fit in my schedule. (Sending an email to the appropriate 
person to see if the article can be removed does.) 

So instead of flying off the handle why not pour yourself a nice glass of wine, 
put some nice relaxing minor key murder ballads on the stereo and calm down.

Cheers,

Bob






To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: [Lute] Lute and Harp duets

[Craig Robert Pierpont]

Hello Charles,
   Consider posting your request to the Yahoo Harplist and the Yahoo
   HistoricalHarplist.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Fri, 10/16/09, Charles Browne char...@brownecowie.fsnet.co.uk
   wrote:

 From: Charles Browne char...@brownecowie.fsnet.co.uk
 Subject: [LUTE] [Lute] Lute and Harp duets
 To: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
 Date: Friday, October 16, 2009, 2:06 AM

   Greetings!
   does anyone on the list have any experience of playing duets with a
   harp (either renaissance or baroque lute)? I would be grateful for some
   help in terns of possible repertoire!
   Thanks
   Charles
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: The reason we play lutes

[Robert Compton]

I'm just hoping the audience didn't pay for this,  I loved the pan  
across the crowd where they were either giggling or cringing.  That  
is so hideous it's hilarious!!  Good halloween soundtrack material.   
Polite applause at the end.  Actually, Bart Hopkin in Musical  
instrument Design cites foam as a potential soundboard material for  
it's combination of lightness and stiffness, but it seems to be  
lacking in bass response.   Robert.



On Oct 4, 2009, at 11:06 AM, morgan cornwall wrote:

Even though all member of the trio intently they studied the score  
as they played, I couldn't help but notice small issues with their  
choice of phrasing (why chop up those long line into smaller  
phrases?).  Too much showmanship and not enough value on the big  
picture.  Their intonation was spot on, but the timing not so  
good.  And was it just me, or did they totally flub the ending  
(perhaps nerves, maybe not enough rehearsing)?  I suppose I'm being  
too hard on these chaps, it's just that been spoiled lately by  
listening to the 'Variations on a squeeky wheel piece that was  
supposedly based on some actual sounds from Mozart's carriage (and  
the carriage was less than 5 years old at the time!).


mc

- Original Message - From: Roman Turovsky  
r.turov...@verizon.net

To: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, October 04, 2009 9:53 AM
Subject: [LUTE] The reason we play lutes



http://www.youtube.com/watch?v=3506Ex097uY

RT



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Imbalance

[Craig Robert Pierpont]

The Harp lists are almost the opposite.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Thu, 9/10/09, Peter Martin peter.l...@gmail.com wrote:

 From: Peter Martin peter.l...@gmail.com
 Subject: [LUTE] Imbalance
 To: Lute list lute@cs.dartmouth.edu
 Date: Thursday, September 10, 2009, 2:54 AM

  Of the last 100 individuals to post to this list, 95 were men.  Is
   this
  representative of the wider lute world?   Any ideas why?
  Peter
  --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Hard shell cases for air travel

[Robert Clair]

This comes up periodically, so search the archives. I don't have time  
for the full lecture but a summary:


Choosing a case requires a bit of thinking about what you are trying  
to do. Simply getting a hard shell case doesn't solve everything. A  
case can provide some or all the following:


* moisture protection

* thermal protection

* puncture protection

* impact protection

The last is frequently the main problem. An improperly fitted hard  
shell case will provide puncture protection but not necessarily   
impact protection. If the lute can shift in the case, and what stops  
it from moving is a peg or a base rider, they are in danger of being  
sheared off, even in a hard case.


The usual proverb is that it is easy to pack a light bulb and easy to  
pack a hammer, but very difficult to pack a light bulb AND a hammer in  
the same package.  Theorbos and such are a light bulb and a hammer,  
all in one convenient item. The neck is quite massive and if the  
instrument is held vertically and dropped and the only thing that can  
apply force to stop the neck is the join with the body, you have a  
recipe for splinters.


You can solve almost anything with enough money, mass and padding.  
Most oboists just carry their instrument with them. But people who  
play traveling shows and play oboe, flute, sax and what have you, all  
in the same night, often have the instruments moved by the crew. I  
once saw an Anvil case for an oboe (about three times the size of a  
normal oboe case) demonstrated in a store. They put a brand new ($3K  
in 1980, $7K + now) Loree oboe in it and then knocked it off the  
display counter onto the floor. They oboe did better than the  
onlookers' nerves.


..Bob
---



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: review

[Craig Robert Pierpont]

Howard,
   One of the most interesting things of following this list is to watch
   Roman get worked up about something. You should not take it personally.
   It's what he does. It's delightfully unamerican. Every now and then I
   think of coming up with something just to torque him up for the fun of
   it, but his bon mot are too valuable to waste.
   all in good fun,
  Craig
   --- On Mon, 6/1/09, howard posner howardpos...@ca.rr.com wrote:

 From: howard posner howardpos...@ca.rr.com
 Subject: [LUTE] Re: review
 To: lute-cs.dartmouth.edu Net lute@cs.dartmouth.edu
 Date: Monday, June 1, 2009, 4:30 PM

   On Jun 1, 2009, at 2:04 PM, Roman Turovsky wrote:
These are HOWARD POSNER'S OWN words about Reger:
   Nice to see my name in bigger type than Reger's.
Nonetheless, this is the only famous thing Reger ever wrote, far
outstripping any of his music.  It even conveyed a bit of immortality
on Rudolf Louis, the critic, without actually disputing anything he
said. Quick show of hands: can anyone remember ever hearing Reger's
Sinfonietta, which was the work Louis had panned?  Let's not all
speak up at once... 
   If it's nasty to say 1) Reger's bowel movement remark is more famous
   than any of his music, 2) Reger didn't dispute anything Louis said, and
   3) the Sinfonietta is pretty much unknown, so be it.
   Sorry, we've gotten way OT.  It's long past time to end this
   digression.
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Gerwig Recordings on CD

[Robert Clair]

The Gerwig Bach record was reissued on CD at one point.  I walked into  
the (now long gone) neighborhood HMV some years ago and was startled  
to see it.



Johann Sebastian Bach
Werke Fur Laute
Walter Gerwig
M 51538
Cantate Musicaphon Records, Kassel

Their web site lists it as still in print:

http://www.cantate.de/Composers-A-Z/Bach-Johann-Sebastian/Bach-Johann-Sebastian-Works-for-Lute::35.html


..Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Laurent de La Hyre

[Robert Clair]

   It is most likely a larger size shawm. Bass and larger 16th C recorders
   usually had a removable cap, often  with a brass band on the end,
   similar to the ones on the fontanelle (the pepper-pot covering the
   little finger key). You would see this even if the instrument were
   turned so that the window was facing away from you.  The edge between
   the side and the top of the cap was typically beveled. You don't see
   any of this in the painting. Also, the instrument in the painting is a
   bit slender looking for a recorder of that size, but not for a shawm.
   Compare the painting with the Praetorius woodcuts.
   (Without getting into the theorbo debate, the woodcuts correlate pretty
   well with surviving instruments for the woodwinds.)

   ...Bob


 I'd guess a great bass recorder, especially since there are other
 recorders in the pictures. It's not a bassoon or dulcian. Those have
 a U-shaped structure, and this looks like a single bore instrument.
 FWIW, the only extended tenor shawms I've seen (one of them in our
 loud band) use a slightly bent bocal, not the bassoon-like one in
 the picture, and the top of the instrument is not nearly as broad,
 but there could be other designs I'm not aware of.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] definitions, was Re: Theorbo by Nic. Nic. B. van der Waals for sale

[Robert Clair]

Pretension: state of the string before it is tuned up (BOB).

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Theorbo Relativity

[Robert Clair]

   While I think that Howard has made an excellent beginning on a theory
   of Relativity of Theorbo Toyness, I think it's

   incomplete as it stands. To completely specify whether the theorbo is
   toy or not we need to know if the theorbo is

   in motion relative to the listener, the speed, whether the theorbo is
   oriented perpendicular of parallel to the direction of motion (if
   parallel, the Lorentz-FitzGerald contraction will affect the string
   length) and whether the theorbo is approaching or receding

   (the Doppler effect  will modify the pitch standard).


You can have hours of fun by guessing exactly what relatively small
size makes a theorbo a toy under Martin's criteria, then changing
the assumed pitch level and doing it again.  Martin misses the fun
because he doesn't acknowledge that pitch is relevant to the question
of instrument size, which spares him a lot of work with the more
advanced branches of mathematics, such as multiplication and division.

The part about Martyn's view of what size theorbos I favor -- as if
I actually had theorbo preferences based on size, and there were
someone else on the planet who cared what those preferences were --
is new, I think, and is silly without being funny.  As far as I can
tell, if Martyn thought about such things, he would say my theorbo is
a toy at A92, definitely not a toy at AD0, and probably not a toy
at AA5, before realizing that there was something wrong with his
categorical one-size-fits-all construct.  But he doesn't think of
such things.  Hence the joke.

   --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE-BUILDER] Re: lute

[robert fallis]

For my thicknesses I resawed on the bandsaw, then I tried both the  
Luthier's Friend sanding device and the Wagner Saf-T-Planer - both on  
the drill press. The final thickness probably should be with a cabinet  
scraper -


one way to use a planner to thickness the ribs is, to plane a good face on  
the rib blank.
then tape(double sided tape)this good side down to a piece of ply wood,  
mdf,so that you have a thicker piece of wood,
it's planing 2mm thick bits of wood that the planer won't do.. then plane  
that till it is nearer the thickness you want

and finish with a scraper..

bob
--
Using Opera's revolutionary e-mail client: http://www.opera.com/mail/



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Music in hell (slightly off topic)

[Robert Clair]

You're probably looking for The Garden of Earthly Delights by  
Hieronymus Bosch:


http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights

Just chock full of fun, don't try this at home  things to look at.  
It lives in the Prado in Madrid. It's very famous - you should have no  
trouble acquiring a poster of it.


..Bob






To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Stuck pegs

[Craig Robert Pierpont]

It is summertime. The humidity is high. High humidity causes wood to
   swell causing pegs to stick. Simply moving the instrument to a dryer
   environment for a few weeks may help.
   Craig
   Craig R. Pierpont
   Another Era Lutherie
   www.anotherera.com
   --- On Wed, 8/6/08, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:

 From: [EMAIL PROTECTED] [EMAIL PROTECTED]
 Subject: [LUTE] Stuck pegs
 To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu, David Tayler
 [EMAIL PROTECTED]
 Date: Wednesday, August 6, 2008, 10:34 AM
Dear All:
 A well-known luthier once told me an effective way to remove a stuck peg
without damaging it:
 Take a short length of wooden dowel (1 inch or 2 cm)
 that is slightly smaller
in diameter than the small end of the stuck peg. Then take a small mallet or
hammer and gently tap-tap-tap until it pops loose. Do not use pliers or
vise-grips!
Cheers,
Jim
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

[LUTE] Re: Dowland's Lutes--the hidden piece

[Robert Margo]

I think Mr. Tayler is referring to the 14th piece in Francisque (counting
from the beginning of the book).  I played it this morning.  It is
definitely a Dowland theme.

Robert Margo

On Thu, Jul 24, 2008 at 9:45 AM, Sauvage Valery [EMAIL PROTECTED] wrote:

 Hello David,
 Do you have more precise reference of the galliard you're talking about (14
 in Francisque) ? I see only 3 or 4 galliard in my copy of Francisque. Or is
 it another source ?
 thanks
 Val


 - Original Message - From: David Tayler [EMAIL PROTECTED]
 To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
 Sent: Thursday, July 24, 2008 11:32 AM
 Subject: [LUTE] Re: Dowland's Lutes--the hidden piece




 Galliard no 14 in Francisque, which is not in Poulton, is one of
 Dowland's more interesting pieces.
 I don't believe it has been recorded--perhaps Rob will be the first
 and put it on his site :)
 Perhaps someone recorded it--I did a search at some point
 It is for 7c lute.
 dt



 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html






--

[LUTE] Re: Dowland's Lutes--the hidden piece

[Robert Margo]

I'm interested in Mr. Tayler's reasoning.  It certainly is a very beautiful
setting.

Robert Margo

On Thu, Jul 24, 2008 at 10:33 AM, David Rastall [EMAIL PROTECTED] wrote:

   On Jul 24, 2008, at 9:53 AM, Robert Margo wrote:

  I think Mr. Tayler is referring to the 14th piece in Francisque (counting
 from the beginning of the book).  I played it this morning.  It is
 definitely a Dowland theme.


 That's what I was thinking.  It's a Dowland theme, which Francisque took
 and wrote a galliard on it.  Does that make it a piece by Dowland?

 DR
 [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: almost lute

[Robert Clair]

 What's the cover story?  Looks like Mr. Kevelos.  Especially the
 sandals.  Why would the Economist have a luthier on its cover?

It's an article on Iraq - Iraq starts to fix itself :


http://www.economist.com/opinion/displaystory.cfm?story_id=11535688


Illustrations in the Economist are rarely identified and often have  
only a symbolic or tenuous connection to the actual article.


..Bob
--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] almost lute

[Robert Clair]

Check out the cover of this week's Economist.

If you're not near a newsstand, this is the cover image:

http://media.economist.com/images/20080614/2408LD1.jpg

...Bob



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE]

[Robert Clair]

 might be an Oud not a Lute.

That's why the subject heading was almost lute  ;-)

..Bob


--

To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html