Re: sarmaticae Re: Jon
Sarmaticae: I listen to some of these melodies and they are very unique and mysterious sounding. I find it amazing to have the chance to hear something similar to the original melodies that ispired such musical geniouses like Moussorgki... Great site, great compilation!! __ Re: Jon Jon you really amaze me:))) you made the discovery that i posted from two addresses? I explained to you in detail recently about having had to use another email to answer your message because of code problems. I probably read your trash more than you read mine--haha:)) you ask me what is 'longer vibrating tone'? it is a tone that vibrates longer. you know, Time and stuff... don't feel like rewriting my message to you--it may have been trash but it was the best attention i can give you :) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Iconographie Musicale
On this site there are quite a few instruments depicted, from several centuries: http://www.musicologie.org/galerie/galerie_1.html and textes too. Like see this manuel d'harmonique: http://www.musicologie.org/theses/nicomaque_01.html see the other menues too, looks like may have loads of things! -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Introduce your lutes to the list!
Thanks for sharing Alfonso!--it's been great pleasure listening to your recorded tracks! Nice playing and beautiful voice of your partner! i would just slightly slow down a little bit, but that's only my personal taste--i like slightly slower so that when one may want to purposefully speed some parts for expression reasons there will be a more obvious contrast and tension elimination. About her, very lovely too! the only thing, if it were up to me, i will make her sing Say Love in a more flowing way (less sacaded/stomping). I know it is not some habit of hers because she sings just beautifully Can She Excuse, and all theother things. But again, only personal taste, nothing important:) Your lute a little slow? Could it be strings too stretchy or high action? Nice accoustic for the recording! It's a common practice to put the lute too silently on the background, but yours is just resonating very nicely and blending with her voice. She's got a very mobile and light voice! take care! Dear All, I am back again after an intense period of work that did not allow me to keep up reading the messages. Now that I am on the market for a new 10 or 11-course lute I realized how difficult it is to choose the right maker among the many ones available today. It is difficult to get references from reliable players and most of the makers have a long waiting list so they do not have instruments in stock for the potential customers to try and have an idea of their work. I though it could be a good idea if we could introduce our instruments to the lutelist with some information about them and some description of their sound and qualities. I would be also a good way to promote young, less experienced makers, encouraging us to order from them. To start off I will introduce my instruments to the list: 1) 7-course lute by Malcolm Prior (1998) after Venere. Multi rib rosewood back. 58.5 cm. Excelent! Very deep singing sound full of low harmonics. Quite loud. The only little problem is that it doesn't speak so quickly. For the rest I am very happy with it. The level of craftsmanship is mint. You can listen to it at: http://www.lutevoice.com/samplesen.html 2) Theorbo by Nico van der Waals (2000). 82 cm/ 164 cm (long neck). Yew multi rib back. It is based on his own design. Beautiful sound for solo repertoire. The bowl is too small compared to the string length and I have the feeling when I play it with orchestras and ensembles that I would be happier with a louder sound. The level of craftsmanship is really good but not mint. I have also a vihuela but the quality is not good enough to be mention here. I am looking forward to know about your instruments! Many greetings, Alfonso marin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re: Re: Lute on eBay
Steve wrote: My first thought when looking at this lute was it sure looked like my Paki lute. The lute on the ebay site is very similar to mine. As i mentioned i got mine from EMS. I was to buy the same thing in kit first but didn't have too much kit-time. This is the picture of the lute as kit: http://www.e-m-s.com/news/Lute%20Kit%20.JPG Paki Lute to many is this so called Mitre Lute on this page: http://www.e-m-s.com/cat/stringinstruments/lutes/lute.htm The questionable lute is similar to the one below the mitre-thing on the page: EMS lute. Recently i saw many different photos of this mitre lute and it ain't looking pretty. Bizare shape, lots of dents, extremely heavy (double weight of what a lute should be), fat, almost parallel neck..etc. One nice thing though is these guys that had such lute and took the time to document their changes and improvements. Also, these photos of the EMS lute on the page look a little crappy too--the lute i received is not at all coresponding to this feel from the photos. This EMS lute may have its parts also fabricated in Pakiland or may-be not, to me it makes no difference. The box of what i got is indeed just like pakistani lute box. One thing is for sure--it is leveled (neck and resonating plate), it is light, blah, blah, etc, (as i already described it), and has this really nice cristal sound with really nice resonation and response (the strings they give suck big time though--mean the lower wound courses..). I don't know about the kinky while plate on the pegbox bottom--mine is not like that. In short again--perfect student lute (appart from this bridge thing i had to readjust..) I've heard real dull sounding expensive instruments done by luthier, with incrusted ebony rim on the edge, knowork 3D(lol) rose etc,.. but i'm not gonna insist in praising it in case mine just happened to be nice by chance --haha. Anyways, i reply with this to prevent people confusing this model of lute with the mitre thing. What was the eBay price of this lute by the way? Here is this English Shop i got mine from. They also sell harpsichord kits, harps and all kinds of stuff. They're here: http://www.e-m-s.com/news/workshop.html Hi All, My first thought when looking at this lute was it sure looked like my Paki lute. This based on the apparent raw pine soundboard not quite quartersawn (or quartersawn from young trees), and its grain orientation-- not quite parallel with the long axis of the lute. Although it wouldn't be conclusive, the materials in the back appear the same. Finally, the pattern of the peg ends is the same. The real major difference is the pattern of the rose-- something fairly easy to change where the price of hand work is really low. I also looked at the harps he has for sale. There is a small 'world music' instrument store not for from where I live. They have a collection of similarly made and decorated harps. They are from Pakistan. Sooo... I took the bull by the horns and sent an email to the guy who runs the shop in Germany offering the lute, etc. His answer to my question about the origin of the lute: These lutes are made by musical instrument makers in Asia, especially for me... He didn't get more specific. I think he's pretty proud of his stuff because his prices are way high, even if one considers the dollar and euro at one to one. There are a couple music stores in Florida selling a similar inventory-- Paki lutes, harps, bagpipes, practice chanters etc. They advertise essentially the same lute on US eBay frequently for prices in the three to four hundred dollar range. My two cents worth. Best, Steve -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re: Re: lute on ebay
On shaving the bridge--recently made this guitar/lutepegbox thing and at one point had to shave about 1mm from the bridge--i didn't do it for the sound but for some mechanical obstacle, but the result was very surprising! The resonation responsiveness of the guitar augmented to what seem to me with a third more of its previous resoantion. Then i tried on some lutes and put my finger on the bridge while the string resonates (without touching it) and indeed, it is very sensitive! Just like on this violin here--buzzing strings are almost like reeds. The guitar is not that fussy on touch though... Normally, a professional lute would have holes drilled deliberately low, and the bridge would have a plate glued on that could be shaved to lower the distance of the string's noose from the belly. For greater action problems fingerboard needs to be shaved. RT __ Roman M. Turovsky http://polyhymnion.org/swv -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: lute on ebay
This lute, i'm pretty sure, is a lute by the EMS (early music shop?) in England. My lute is from there and it is pretty similar. I got it fro eight hundred and something euro, shiping included. It has extremely sweet sound and is very responsive (at least mine is like that)! The finishing is pretty much OK, not without several filling in-s, but they are nicely polished over so it is not bothersome. I cannot think of a cheeper and better sounding lute for a first lute of a student. This is not the pakistani lute. The shape and quality are infinitely better than these pakistanu lutes (i wouldn't even call them exactly lute--from what i've seen on pictures...). I mention the pakistani lutes because this one uses the same box--not to be confused, it's only the box. The issues i had with this lute before i could play it nicely and smoothly were: --first--obligatory respacing of the strings on the nut piece: i cannot stand lutes with eight courses all spaced evenly--i put the first six with more space, and then the last two can be close. Then you can do the fluid things you are used to do without parasite string touching and buzzing.. --second--the bridge was too high--i was wondering what people do in case of high action/high bridge. Almost brought it to luthier but then just took decision and somply drilled a second set of holes on the bridge with a small drill. The second holes start next to the original ones(high) on the back side of the brindge, and go in a slnted diagonal close to the soundboard on the front side. This resolved my problem and made the lute playable. By the way, do anyone play a lute with action higher than 3~3.5mm on the ninth fret? To me higher than that pervents me to play the relative fluidity level that i can access... --third--whoever has such lute may want to put gut frets. I still haven't done that. I'll do it soon--i'm not 'afraid' of gut because my hands don't sweat besides it must give a warmer touch to the string contact and no sliding.. hope this helps cheers! R while lurking on ebay I found this instrument - don't know if it's worth the money (and don't profit from forwarding this offer) but maybe someone is interested http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemitem=3773134797#ebayphotohosting Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re:Thomas Re: Elias
Hi Thomas, in the site i gave link there are a few german pieces (probably = you saw some). In the book however i've got only works by what they call 'trobadors' (trou= badours)--they=20 are from here--Occitania. Probably they have a german equivalent but its no= t covered in=20 this collection. However, about name you search, Ulrich von Liechtenstein, i found this site= (if you don't know it already) , it has no music but it has loads of his writings--in old German: http://www.fh-augsburg.de/~harsch/germanica/Chronologie/13Jh/Liechtenstein/= lie_intr.html also, huge list of others(with years) from the same site: http://www.fh-augsburg.de/~harsch/germanica/Autoren/d_alpha.html Hi Elias, here i send you a list of the composers that have more than ten s= ongs in the book: Raimon de Miraval Rimbaut de Vacair=E0s(7) Peirol P=E8ire Vidal Marcabrun(7) Giraud Riqui=E8r Gauselm Faudit Folquet de Marselha Bernard de Ventadorn Berenguer de Palou laters! R Hi, =20 Looks like an interesting book. I'm searching for such things, especially ArsNova/early renaissance-composers like Ciconia, Dufay, Dunstable, Landi= ni, Jacopo da Bologna, (they are all polyphonic though, mostly 3part) Cou= ld you give me an index of the authors? Which authors are having 10 or more songs in it? =20 Best, =20 Elias =20 =20 =20 =20 =20 -Urspr=FCngliche Nachricht- Von: rosinfiorini [mailto:[EMAIL PROTECTED] Gesendet: Mittwoch, 29. Dezember 2004 00:35 An: lute@cs.dartmouth.edu Betreff: Thomas-medievale s. =20 =20 Hello Thomas,=3D20 Here i have a huge book with virtually almost all known trobadors' works. It has more than fourty authors with their songs, and some have more=3D20 than twenty songs. The songs are presented in the notation of the time (13-14 hundreds) , pa= ra=3D llel with modern notation and text in the original ancient Occitan, German, En= gl=3D ish and Spanish. For each song there is also a system of letters that defines the Form. This is a system of greek letters, latin letters and numbers. Covered Forms in this collection are: =20 Laisse Laissenstrophe Retroencha Rondeau Virelai Balada Oda continua Can=3DE7on Can=3DE7on redonda Lai Estampida etc... If ever you think of some author or a song i can easilly scan it for you. Some of the songs are polyphonic, but not too often.. take care R -- =20 Faites un voeu et puis Voila ! www.voila.fr=3D20 =20 =20 -- =20 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html =20 =20 =20 -- Faites un voeu et puis Voila ! www.voila.fr=20 --
Re: Re:Jon
hi Jon, i tried several times to post this Re. to your message but it came up messed with things and numbers. a try one last time-for whatever it is worth-haha:) Whatever I can show on the sillyscope or prove as to the effects of spinning bodies or conical strings on the actual tone production there i= s only one instrument that can define music. The human ear, in my case it=92s more the Heart that defines music, but it=20 doesn=92t matter : big world, different ways Music is sound, a complex sound, yes. But still the alternate compressions and rarefactions of the sound (air) wave can only be heard as music by that ancient receiver. ..i feel differently about Music, I can hear music without=20 any physical vibrations in the air, can hear it, grasp it and put it on paper. Then it can appear as a alternate=20 sequence of variating air densities, but it was=20 already Music even before that.=20 The solely concern of =93creating alternate compressions in the air=94=97you can=92t be that =91Technical=92 to the core can you? There is more than the physical part to music=97it=92s Feeling. Feeling is=20 Intent. We are Humans--much more than machines. Machines can detect vocabulary and syntax commands,=20 mesure frequencies, classify in neat taxonomy categories, detect faults and missmatches etc, but=20 cannot be aware of Feeling. I (or millions others) can write a musical piece and Intend=20 you to feel a particular feeling, mood or even image from it. Without any =93syntax=94, no =93vocabulary=94. And if=20 my Intending has been impeccable, if I had enough personal power, energy and selflesness, then such a music can=20 move you to feel inexplicable joy, longing..: whatever=20 the feeling at hand is=97even from a sh-i-tt-y LoFi recording=20 that doesn't challenge even half of the humanly audable range=20 of sound frequencies.=20 The Vibratory Force-Intent, is ancient and mysterious, that=92s=20 why it=92s =91Old Age=92. It=92s everywhere and we can be friends=20 with it or command it. It starts by starting to examine your=20 true Intent for everything you do or say. Then you=92ll=20 discover that most of it is hooked on the =93Me=94, it=92s a=20 =91self-service=92 (mastur...). The =91Cult of ME=92 today=97we=20 can=92t even give a gift nowadays without contaminating=20 the whole thing with some issue of the =93Me=94 and its=20 endless worries for selfpresentation-lol. In =91New Age=92 there is no need to examine Intent: you=20 can just dress up in something, chant, and dance with=20 some =93godesses=94 in the forest (haha). A self presentation=20 circus where in the end you stay the same a s s =20 that you are (or even worse).=20 So they sharpen razor blades in pyramids? I haven't=20 heard of that but may-be they are simply pragmatic=20 people that use a phenomenon, not new-agers.=20 Did it ever occure to you that this phenomenon may=20 happen as a result of 'reversing time' effect in the pyramid (new age assid= e-lol)? The music of the spheres--John Keely's Solar System?=20 One thing is for sure---this world is more mysterious=20 and wonderous than we can ever dream of. To open=20 its wonders one need to explore honestly without=20 preconcieved judgements. There is one branch in=20 philosophy called phenomenology. There one is to=20 attempt to look at the world without priory. Epoche.=20 have a few problems with your like wow vocabulary, but I think I'm working my way through it (and enjoying it). Joy makes perfect:) like wow...haha--makes one think of the way =20 'Valley Girl's talk-they've got this lingo and one can be amazed at the number=20 of concepts they can communicate with 2-3 words. Unfortunately, they're not really=20 carried by genres that deal with abstractions or subtleties...like, yeah, whatever (lololol) -- Faites un voeu et puis Voila ! www.voila.fr=20 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
PyramidTension and vibrating length
___ There is a difference between strings and wind instruments ___ :) you bet there is..i meantioned the idea of conical strings for fun (i grab ideas from infinity). My interest of this is in the context of spinning bodies: if one gives to one part of a body a speed and to another part zero speed, then the body (if solid) spins. We saw that a difference in the speed and momentum of a body create difference in some (either frequency or amplitude) values of its very basic fabric/structure. We saw how this difference from one part of the object to the other can create some sort of a current, even magnetic polarization in a piece of aluminium. So, seeing this i though, yeah, thats fine, but what if i want some similar phenomenon but with an object that doesn't spin?... Infinity said (lol) : you got to vibrate it with a different, nonhomogenous, rate. So, i thought, the Vibratory Force (Intent) vibrates everything anyways, so all one needs to do is to SHAPE an object with some sort of a progression in its form: be it conical, pyramid, etchm, pyramid (not pyramid strings-hehe), did all these fellows had something like this in mind by constructing pyramids all oer the place at one time..for some sort of polarization/amplification/current, etc ...so the conical strings idea's on the fun side, but who knows what such a thing would give--hope not some Lute/Scalar Weapon(LoLoL) ___ I must not have been clear in what I said. 27N isn't that too thin? and wouldn't it be a little loose? (unless you want your 63 cm lute tuned to G..?) ___ No, you must have been clear but i see where i confuse things: in a rush i somehow concluded that 27N is a 0.27mm nylon string--the only reference about strings' gauges i use is from Savarez and their Nylon code has the diametre included in the code, like NN40 (nylon nue) for 0.40mm chantarelle. Note that i didn't even remember the code's NN is before the numbers-hehe They use kilograms instead of Newtons, but if ever you are curious to look at their tables of sugested values for tension/diametre proportion here they are: table of sugested tens./diam. for gut, gut-wound, nylon, rectified nylon, etc: http://www.savarez.fr/p-instanci-exp-luth-boyo.html#1 table of available diameters, example with nylon nue: http://www.savarez.fr/images/compo-instanci-nylonnurecti.gif The page with all of their renaissance and baroque lute strings descriptiions: http://www.savarez.fr/instanci-pince.html# etc,, take care! -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Time Stands StillMerry Christmass
Just finished the other day this drawing, same name as the song from Dowland, called 'Time Stands Still': http://perso.wanadoo.fr/raydimitry/imagini/timestandstill.jpg Sometime ago i remember writing to some poster here about how shamans consider mass, momentum, inertia, to depend on the rate of a vibratory force-Intent-over the time fabric of an object. I was really surprised to discover this almost exactly paraphrased on a page tonight: _ ...The intensity of the trapped scalar flux in the nucleus of an atom is responsible for the mass and inertia of the nucleus. Mass is localized trapped scalar resonance. The trapping agent is the spin of a particle. The mass and inertia of the particle are due to the scalar resonance that is trapped. Increasing the amplitude of the trapped scalar resonance increases the mass and inertia; decreasing the amplitude decreases the mass and inertia. the page source: http://www.cheniere.org/books/ferdelance/s28.htm __ also, concerning Time:: __ ...Then suddenly comes this amazing new knowledge that time itself is actually compressed energy. And it is energy which is compressed by exactly the same factor by which matter is considered compressed energy: the speed-of-light-squared! So we have a new companion to the famous E=mc2. It is now paired with E=tc2 (where t is actually delta-t, or change in time). It has a nice ring to it, like some freedom bell announcing a new era. And as the atomic bomb released the compressed energy in matter, so can we now unleash the tremendous energy that is compressed into time itself. It gives a completely new meaning to the term time bomb. page source: http://www.prahlad.org/pub/bearden/scalar_wars.htm ___ i can't be here to discuss them (wish i had more Time lately!:), but hope you find the things above interesting Merry Christmass everyone!! -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: odd fret pattern
i typed on google the place-name (or whatever it is) that they site and it shows it as Croation. the author name gives no returns. They seem to have double standards?(the split fretting for the bass) - Original Message - From: bill kilpatrick To: lute list Sent: Thursday, December 23, 2004 1:11 PM Subject: odd fret pattern there's an old instrument - bulgarian perhaps - up for auction on german ebay with an unusual fret arrangement. anyone have any knowledge of this? http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemcategory=7799item=3771339890r d=1 just curious - bill -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Tension and vibrating length
27N isn't that too thin? and wouldn't it be a little loose? (unless you want your 63 cm lute tuned to G..?) If it were up to me, i'd tune a 63 cm lute to F or lower with nothing thinner than 0.37 mm for the chaterelle. but, all kinds of tastes... What if strings were not cilindrical but conical, then one would really have a field day figuring out the right gauges, fretting, pitches, etc:) At least, in such a case one good thing would be probable: that such a string may amplify the fibration input. I have two bagpipes, one with cilindrical chanter and one with conical (scottish highland). The vibrations that come out of the conical are loud as hell--sound lenses..lol I'll try again, as I'm yet trying to string that charandora. I am looking for opinions. I repeat, the O.W. (Aquila) string calculator recommends tensions in Newtons that vary for the same pitch depending on the VL. (This already takes into effect the guage, as that is the resultant. I've noted before that my 63.5 lute is happy with about 35 N on the chanterelle (disregarding the pitch, other factors there) - whereas the 36 instrument I'm working with is recommended to be 27N. -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Beards - Final Conclusion
My apologies to Mathias. I missed your earlier message, because it was marked SPAM by my server. I would like to think that the server was particularly adept at picking up badly spelt rude words in German :-), but unfortunately it marks many innocent Lute Net messages as Spam. Not only do I often overlook such messages; changing the subject title plays merry Hell with my filing system... hehe, it's Human Against the Machine--reminds me of how i never used to get the messages of my friends Hellen Richard in England because the server automatically judged that it must be some kind of spam message as: get rich or go to hell:) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: The Cap-Stone image -- guitars to viola da gamba -- Gonesseorgan viola, France 1508
I found none of these topics a nuisance, but that vile and ubiquitous appellation for what used to be called sailing vessels does make my stomach heave slightly :) David Cameron Probably you must go down to the sea again, to the lonely seas and the sky, And all you need is a sailing vessel and a stars to steer her by... can awake the young again, who knows, may-be not dead yet:) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
in english fields
detail of 12 course lute with bridge and rosette: --and don't come and tell me about how it shouldn't 12 course, but either 11 or 13, and that in google they said lutes are not supposed to be green, etc :))) http://home.clara.net/lucypringle/photos/2004/uk2004bp.html -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re:Lutenists and light bulbs (was: El Maestro )
By the way, how many lutenists does it take to change a light bulb? Well, at least ten of them: one to measure the rim and see if the light bulb fits exactly or if it is let's say one tenth of mm (one inch = 250 mm) too big or too small, the second to measure how far the light might go, the third to decide whether it is acceptable and politically correct using a lightbulb over there or if one should take his time and think it over until everybody in the audience (which might come) could be satisfied with it, the fourth to choose the right brand, inland or abroad, the fifth to search the net for better instructions to know how a good job in changing the bulb would result in a brighter and longer light, the sixth to ask the lute mailing list about different ways of changing the bulb and if a catline-bulb would be better, the seventh trying to influence the others not to change it, as a candle is what a real lutenist would have used, because that kind of light might influence the way one plays, the eight to decide if the light bulb should be colored - and of which color- or normal, the ninth to remind everyone that a light bulb can't be changed without permission (his, at last) and it might be a fake broken bulb, the tenth to call a flutenist to change the light bulb.. Donatella http://web.tiscali.it/awebd Hehe, that was funny:) a good description of Forum Fuss! (((D))) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Lutenists and light bulbs (was: El Maestro )
You forgot the 11th, who would harp on how druids would wound tungsten coil on carbonfiber, and tell a tale about the 9th century light-bulb in Waterford that was so bright it could be seen in Dunfanaghy. RT oh, but of course--no problem--Ancient Egypt light bulb: http://ourworld.compuserve.com/homepages/FDoernenburg/Dendera4.htm cheers:) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Stubblefield-lit the bulbs from the Earth
Up to the 1930-ies it was common thing that telegraph and telephone used no batteries appart from the permanent...Earth Batteries. Thanks to people like Stubblefield (who's knowledge is carefully supressed nowadays). Stubblefield drew electricity from the ground with very simple devices and had his domain permanenty lit.. Some people interested in musical instruments know that when smal particles like sand are spread evenly on the vibrating surface, sometimes they form strange orderly paterns. Cladny (spell?) did many experiments with his Cladny plates. One of the most fascinating people ever lived: Buckminster Fuller made some experiments. He took a baloon and vibrated it with sound. He found a way to make some ink stick to the plces that vibrated most. When submerged the baloon in the ink and took it out he discovered curious net of lines. Later he constructed a spherical structure that used sollely these lines. The structore was extremely strong so weren't these lines the lines of force of the sphere? Later he superimposed the grid of lines over a globe of the earth. Big part of the intertwining knots of the net happened by chance to be on mysterious places where ancient civilisations had build, often enormous' constructs. Or such knots fell on strange lines of force (ley lines), or vortexes (entrance/exit of energy). Durring the time of Stubblefield, not only telegraph and telephone was using earth for battery, but also the communication signals were ...wireless. Geomancian plans suddenly came back in use then and the sender and receiver connected through fantastic distance using such lines. The only incoveniences were that the signal was too strong! Also, that some magnetic caprices were preventing communication sometimes. The strangest thing was that sometimes the signal received was day or more old! Or it was unidentified signal... This site about Stubblefield (the only comprehensible site) has disappeared but i used the wayback machine and it can be seen fortunately. about Stubblefield: http://web.archive.org/web/20030810222403/http://www.icehouse.net/john1/stubblefield.html About Groundradio and Earth Lines: http://web.archive.org/web/20030625104126/www.icehouse.net/john1/groundradio.html -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Vihuela, charango and armadillos. Long post . Olim Renaissance america - a little more lute related, maybe
i found this thought brilliant: i read recently that the process of history really got underway when mirrors became affordable to everyone. until then it was impossible - literally - to properly see one'self as anything distinctly different. By chance I red recently in this book (in PC so can copy-paste) where the shaman explains that we can be so many wonderfult things but have our being static and chained into one single position--we hold on to this position of egotism and we give all our energy to defend the self (this position). It is as an artist who do not dare change/evolve in style and fearfully sticking to the style that brought her/him fame. He said that in Venezuela they had a way to hunt monkeys: they put seeds in chained gourds in the night and come to collect the trapped monkeys in the morning. The gourds have only a small opening, small enough to pass the fist. The monkey grabs on to the seeds and nothing can make it drop them. The monkey sees the hunter and tries to get away with all might and bleeding hands but never let go from these seeds. The shaman said that we are like like these monkeys and the seeds are our self image, our self-importance, our self-reflection. a few quotes by the same shaman: ...They imprison us, but by keeping us pinned down on our comfortable spot of self-reflection, they defend us from the onslaughts of the unknown. I was having one of those extraordinary moments in which everything about the sorcerers' world was crystal .clear. I understood everything. Once our chains are cut, don Juan continued, we are no longer bound by the concerns of the daily world. We are still in the daily world, but we don't belong there anymore. In order to belong we must share the concerns of people, and without chains we can't. Don Juan said that the nagual Elias had explained to him that what distinguishes normal people is that we share a metaphorical dagger: the concerns of our self-reflection. With this dagger, we cut ourselves and bleed; and the job of our chains of self-reflection is to give us the feeling that we are bleeding together, that we are sharing something wonderful: our humanity. But if we were to examine it, we would discover that we are bleeding alone; that we are not sharing anything; that all we are doing is toying with our manageable, unreal, man-made reflection. Sorcerers are no longer in the world of daily affairs, don Juan went on, because they are no longer prey to their self-reflection. 'The position of self-reflection, don Juan went on, forces the assemblage point to assemble a world of sham compassion, but of very real cruelty and self-centeredness. In that world the only real feelings are those convenient for one who feels them. 'For a sorcerer, ruthlessness is not cruelty. Ruthlessness the opposite of self-pity or self-importance. Ruthlessness sobriety. ...I asked him what the effects were. He said that they gave out imperceptible jolts of invigorating energy, and he remarked that average men living in natural settings could find such spots, even though they were not conscious about having found them nor aware of their effects. How do they know they have found them? I asked. They never do, he replied. Sorcerers watching men travel on foot trails notice right away that men always become tired and rest right on the spot with a positive level of energy. If, on the other hand, they are going through an area with an injurious flow of energy, they become nervous and rush. If you ask them about it they will tell you they rushed through that area because they felt energized. But it is the opposite - the only place that energizes them is the place where they feel tired. He said that sorcerers are capable of finding such spots by perceiving with their entire bodies minute surges of energy in their surroundings. The sorcerers' increased energy, derived from the curtailment of their self-reflection, allows their senses a greater range of perception. I've been trying to make clear to you that the only worthwhile course of action, whether for sorcerers or average men, is to restrict our involvement with our self-image, he continued. What a nagual aims at with his apprentices is the shattering of their mirror of self-reflection. He added that each apprentice was an individual case, and that the nagual had to let the spirit decide about the particulars. Each of us has a different degree of attachment to his self-reflection, he went on. And that attachment is felt as need. For example, before I started on the path of knowledge, my life was endless need. And years after the nagual Julian had taken me under his wing, I was still just as needy, if not more so. But there are examples of people, sorcerers or average men, who need no one. They get peace, harmony, laughter, knowledge, directly from the spirit. They need no intermediaries. For you and for me, it's different. I'm your intermediary and the nagual Julian
Re: Re: Instrument Sounding
It may be question of personal way of feeling things, but in my case, when i play the guitar with (double) high tension, thicker than the lute strings, to overcome dull muffled sound i pass really quickly and swiftly across the string at hand. The only thing to be avoided for such playing is Savarez Alliance strings--too watery--better the matted onces. The movement involves very slight arm movement, slight wrist rotation, swift, short and precise finger trajectory. A degree of tension is used but never, ever muscular tension--a tendon tension alternating with relaxing. This can broduce a sound as brilliant as a nail-sound. Think of how when your hand brushes quickly over the surface of water there is this feeling of 'solid' objects interaction. Or a water-skier. The only pitfal of this way of playing is that it cannot be done right away after coming from outside with slightly cold hands. One need to be absolutely at ease and warmed up, otherwise not being in shape to play like this will produce very quickly fatigue and tension. I find this technique very suitable for passaggios (either guitar or lute). Once you learn to play this way there is practically no speed impossible to you (and then you get the sobering realisation that there other things besides speed that are even more important-hehe). But concerning the theme about nail- or nonail it resolves the problem for me. I had this friend and he was learning the cornetto from the renaissance. He was playing really heavilly. The one day, overnight, he started to play in most mobile and light fashion. I asked him hey, how did you 'modify' your ways so suddenly? He told me that all he did was not a new technique, not a mechanical skill, but change of view: he placed his attention on his belly as a source of energy (like singers, shamans, aikido-kas, etc, do). Then suddenly he had all the needed energy to make swift shifts and intonations. In my case it was similar, only a change of viewing things took away all the heaviness that prevented any swift passages: before i saw the strings being plucked, and then suddenly i saw them being brushed. I was not plucking them in some monstrous way and visually it may have not looked any different. It's just that the second type of feeling-setup automatically produces effortless, brisque, and precise strokes when needed. James, That's very interesting. If you have any insight into how your student achieves such a sound I'm all ears. Before obtaining a lute I played classical guitar thumb-under without nails (about 8 years). While it was better than nothing, I found that it took a great deal of effort to get any sound volume compared to nails. The very high tension of the guitar strings seem to be one of the problems. The modern classical guitar seems very unresponsive to finger pads. Now that I have a lute the contrast seems accentuated because the lute is so live. Thanks, David [EMAIL PROTECTED] wrote: In a message dated 12/14/2004 6:38:46 PM Pacific Standard Time, [EMAIL PROTECTED] writes: I bet a lot of lute-netters have a classical guitar laying around in its case. I wonder what solutions have been invented to play the guitar without maintaining fingernails: Hi David, I have a guitar student who plays without nails on a standard classical guitar, with nylon strings, and he gets a beautiful sound. James -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re: Re: Redux Strings
Hello Jon, i'm glad you found these ideas interesting. I personally am not too familiar with Einstein (they are not very empirical--they mostly deal with mental inventory items-- arrange them in 'mathematically' correct way-formulas--but no practice) but i know that he had his attention on notions as time, gravity, etc. My not having interest in these mainstream scientists is coming from the fact that the source of all the secrets, all the wonders lies inbetween the lines of their equasions. This is because of the simple fact that these wonders are not detectable by instruments. If, however, these scientists were more empirical (experimenting, not denying anything that do not fit the current orthodox theory), they should have noticed some phenomena which, if not showing the source of the wonders, is at least clearly demonstrating a consequence, effects, or manifestation caused by these anomalous wonders. You for example are working empirically: you are not only cerebrally cogitating and comparing formulas, you do actual experiments and observe with openness any result. These establishment scientists are not empirical. They put breaks on things that threaten their thoeries. A few years ago, a scientist called Podkletnov, noticed that the smoke from his pipe was strangely rising always above some glass bell/jar where was something like ceramic superconductor. He thought something filters gravity and makes the smoke rise. He made many experiments with spinning and frozen superconductors and the conclusion was that there is loss of weight of some objects right above them. He published his discovery (in about 96?) in a famous scientific journal. The very next day the whole world academia was barking against him, suddenly so many people came up with personal attacks and even insults! This is because his discovery made a real mess with some stuff by Einstein that is an establishment theory. May-be also the second law of thermodynamics (can't remember). Nobel prize scientists were mocking him on TV as a obscure sharlatan or at least wishful-thinker. No one wanted to sponsor his further research. The Priests of Pride almost won. Then by chance, some scandinavian company hired him and he could prove all the effects he was claiming. Nowadays, the nobel prize arrogant scientist that was insulting him goes around on TV to show the miracles of science by levitating a coin above frozen superconductor...yuck! Thing is that this world is not the linear thing they want it to be. Vortexes exist (Oregon etc.), anomalous stuff happens everywhere, if only to be noticed etc. Look for example at this, it is about spinning bodies (they have big problem to figure out gyroscopes--lol): If we said that Intent defines the intensity (density) of each object, and as a cohesive, vibratory force it makes objects resist movement (especially the dense/heavy ones) and then conserve movement (momentum), then we can consider that an object moved at a given speed will suffer change of the rate of vibration of Intent. Until this change repare intself (to obey Intent -name intent is not by chance) the object can move by innertia--conserving the speed for some time. If that's true, what if we vibrate and object--probably we can find a frequency that will tamper with Intent's vibration, and thus alter its weight (intensity of Time). Then may-be it can be levitated. It is just this i saw someone did on internet: he moved the slider of a tone generator (cheep free software) with small speaker over a small zink plate and at one point the plate lost weight and lifted! This happened with speaker both under or above the plate. Big trouble for the Priests of Pride and status quo-lol. But thats not all! When an object has one part of it posess one speed and another part of it another speed then this object has two different rates of tampered Intent's vibrations.This object is spinning. When an object spins it is almost like it creates an anomaly in the Time(space) fabric. It has its center imobile, then the further you go to the perriphery the more tampered the vobration. It must create a current of some sort (just as cold and worm mass of air cant rest but make wind when neighboring). This explains probably the following phenomena: when an aluminium disk is span at certain rate it starts to change its metal qualities and starts to act like iron--it attracts the magnetic arrow of a compass, etc. As if its particles get polarised by the spin. Well, if the center is imobile and if the periferry is speedy, then +- polarisation of its very structure will be the most natural thing to happen. Scientists are a little at loss here, while shamans (the ones i care about: the Old Age, hehe, not the New Age) were giving it explained for millenia..Intent can be ...commanded by Will! It can be directed or summoned. I think the quantum theories start to speak almost the truth that shamans spoke always.. uf, i wish
Re: Re: Redux Strings
Are you trying to say that shamans had aluminum?? FYI temperatures necessary to obtain aluminum were out of reach until almost 1900. RT hehe, i don't know if they had, but the aluminium disk phenomenon was observed in the laboratory of some guy (probably in England). I saw it in a documentary on the BBC. May-be a search engine will show where it was. The shamans were into claiming that spinning tampers with the composing fabric of things--long before the aluminium discovery. why you reffer to neo-nazis in the other message:( ? -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Redux Strings
Q: How many druids does it take to screw in a lightbulb? A: Say a dozen. One holds the bulb and everyone drinks mead 'till the room spins. haha, i never thought they knew such tricks! i though they were to turn the table with the bulb-guy and all:) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: RStrings
I doubt the druids could spin fast enough to change the fabric of things. .i don't know druids, they are so much romanticised but very little knowledge from them must be still passing, but the ones in ancient mexico used sound vibration. If they would do it with spinning they only needed an initial process (little spin) and then the fact that man has Will/Intent commands the process/polarisation to amplify. I've watched this video from some chinese Chi-Goon yearly competition and a guy was doing such tricks even without sound or spin--by sheer will--he'd plant himself (a small man) and then no one can move him (rooting) even a very tough guy. Then they stretch rice paper between two people and he pierce it with a sticj to show how fragile it is. Next after a few breaths he walks on the paper like some funny bird! The guy that was showing me the video said that such demonstrations were pretty common for China.. Given the proliferation of vortexes in the Pacific NorthWest. RT they are everywhere (not the neonazis hopefully). They are hard to be noticed. Just see how the plank on the picture is romboide? In fact it is rectangular but because of the shrinked size it looks deformed. Also the rail. Notice also the two poles: they are originally absolutely identical- cut together, but the spot makes one bigger. these are pictures of the vortex affecting two people. the two to be compared: http://perso.wanadoo.fr/raydimitry/imagini/vortex1.jpg http://perso.wanadoo.fr/raydimitry/imagini/vortex2.jpg -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Instrument Sounding
In a message dated 12/14/2004 6:38:46 PM Pacific Standard Time, [EMAIL PROTECTED] writes: I bet a lot of lute-netters have a classical guitar laying around in its case. I wonder what solutions have been invented to play the guitar without maintaining fingernails: Hi David, I have a guitar student who plays without nails on a standard classical guitar, with nylon strings, and he gets a beautiful sound. James In my case i use the 'thumb under' way of playing and it goes well on the guitar strings-only in the beginnig of each session i got to readopt the feeling of what vigour and angle is needed to brush over the strings. i foundthat the more i become at ease with lute playing (not much-lol) the less i touch the strings with the idea of plucking them and more brushing across them in varying curves that may resemble the curves of a plain landing. (all that for thumb-under) With some little nail that hits in a sort-of angular fashion the string is a little easier for a slightly more brilliant sound but it appears to be too much nail for me when i switch to the lute. I find the lute already with crisp, brilliant sound with no nails, and a little nail is too much-- probably because of the very responsive resonance on the high of lute compared to guitar and the thinner strings.. cheers! -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: renaissance america (AustrianArnold,etc)
Howard wrote: And except among the small minority of people who had money, the renaissance didn't pass through Europe either. Yeah right--money: can i buy you a renaissance tonight?--oh yes, i'd appreciate it, i can't afford it you see.. Renaissance--Something to Buy, Something to Consume--from your local GM dealer. hehe. Renaissance did pass through europe and did serious damage to mentality defined by religious dogma with its rigid mental codes and opressive thought control. Those (religious dogma with its rigid mental codes and opressive thought control) are not damaged and are florishing in rural (majority) of the states. Also in europe, because of the renaissance, we have several precedents of rullers putting arts and culture as something of high esteem. Then the whole populatiion's aspirations can less arnold. In america there is no precedent yet of a ruller to put arts and culture as something to be esteemed highly (well Money-yes-lol). I don't think there is Ministry of Culture there. All very very fine artists and creators there survive by their own exellence, and are brilliant. But there is a problem (to my 'taste'). The problem is that lately america dictates the 'cultural' uniformisation (death of diversity) of the world and by doing this it doesn't export all these brilliant creators but it export the biggest corporal commercial crap--authorless concoction with lots of fat, SFX, cerebreally concocted as successful products, having nothing to do with genuine creativity, human affection or any originality whatsoever..eat McArnold(lol). Go and start the NEW AMERICAN RENAISSANCE! (we should make a bumper sticker) Its up to you:):):) it won't drop from the sky or from europe. rosinfiorini: (rather the Medicis than Savanarola-lol). As you may know america developed under the sign of the puritains, Howard wrote: This is where I stopped reading, because (as I point out for the third and last time) your premise is wrong, and therefore your conclusions don't interest me. Of the 13 original colonies, only Massachusetts was governed by Puritans, and nine of them... yeah, also for fifth time, i stated to you clearly several times (what you 'didn't read-lol) that i'm talking about opressed mentality, religious dogma and rigid moral codes--something to be found in all states then and in many now. I'm not talking about registered trademark puritan historically certified in thirteen states, etc. About your not reading the message-hehe--are you bragging about it? The most a human being can give to someone else is attention. It requires energy, it requires opennes and connection. It was a long message but i know i gave you my full attention--thats my attempt at giving impeccably as best as possible. Impeccably means for sake of it, not for expectation of any sort. Thats all i care about--the rest is not to be of my concern--so don't come and tell me: i didn't read your message lol, tell that to someone who cares, mommy, whoever :) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
media player
Windows media Player 10.0 has a function of slowing the piece without altering the original pitch: even very fast passages become clear tlking about the new media player, i have real hard time to find the radio tunner. i had to return to the 9.0 version (thousands of stations worldwide). on the ten i see only two commercial radios..did they supress it or something, or it's hidden in the menues somewhere? on the other hand, the slowing function is also on the 9.0 version -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Instrument Sounding
Dear ppl, recently i adapted this guitar to a six course instrument (not very refined visually:) http://perso.wanadoo.fr/raydimitry/imagini/coursesix.jpg To whoever may want to make something similar or who is curious how such a thing would sound, i recorded a short piece-soundfile here: http://perso.wanadoo.fr/raydimitry/soni/AdieuMezAmourz.mp3 i play (..somehow-lol), part of this very charming piece-Adieu Mez Amourz as reinterpreted by Newsiedler. I learned it from Jacob Heringman's CD of Josquin Dez Prez pieces reinterpreted by other composers. Probably most of you are famigliar with his (Jacob's) creations but to those who are not i highly recommend listening to him. It is a pure inspiration as he has this exquisit feeling coming through his playing of rare blend of fluidity, delicate personal touch of artistically applied dynamics to the pieces, humbleness and serenity. -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
AustrianArnold,etc :)))
Dear Howard, it's like you are saying, hey, it's mathematically incorrect, the dates, etc. Or the equasion doesn't work. :) I try to explain what i mean, just below your quoted post. While I find these remarks insightful -- except for the part about the dominance of the religious and military, the part about Shakespeare and Dowland (who were both dead before there were more than a handful of European settlers in North America), and the parts about the praying seven hours a day, the only education being religious, the burnings at the stake (burning at the stake happened in enlightened Europe, not in colonial North America), the Amish (who didn't come to America until the mid-18th century), the cost of higher education in America (two years ago, it cost about $1,800 for a California resident to attend a California State University, but that's gone up since we got an Austrian immigrant governor who sees higher education as a way to cut the budget deficit), and Noam Chomsky (not an extremely popular author but a linguistics professor , who I've seen on television more than once); the confusion of two centuries, nearly all post-Renaissance, into one nondescript sort of Time That Never Was, and your confusion of several different colonial cultures with a one-dimensional caricature of the Massachusetts Bay Colony -- you should consider that in a group of lute players, there will be readers who have actually studied history, as you evidently have not, so you might want to check your facts occasionally. Carry on... Not being set on the intent to fuel graticious inflamatory statements, but to communicate a view (and even a joke) i'll restate my line: renaissance never passed through the States and this is a fact. Then (half in humour of course) i speculated about what would have been America nowadays if it started off under the sign of the aspirations of the Italy of the renaissance (rather the Medicis than Savanarola-lol). As you may know america developed under the sign of the puritains, which were losing political control in England and had all the control they wanted in the New world. I don't need to lecture you on what the aspirations of the puritains and what the rulling mental trends in america were but i feel they are on the rather dark opressive religious/moral rules side than on the freedom of imagination, poetry, humanism and arts praise side. You should be very careful to understand that we are talking mentality here! Mental climat, mental encoding, religion are EXTREMELY powerful means to mold the perception of and individual of the world, of her (him) self and of her(his) acts. Mental encoding and rigid moral system can be so powerful and manipulating that they can be used to render the view of things in most farfetched or distorted ways through mental ASSOCIATION and through joining it inextricably with a particular CONTEXT. That ain't no Phenomenology(LOL), just the contrarry. It is only my personal taste probably, but i'm not fascinated about what contexts and mental associations these healthy people imposed on their populations in the New World. Take for example (that's only one example among countless) a depiction of a female body, the way it was depicted durring the renaissance in paintings. You don't need to have a wild imagination to forsee what kind of mental CONTEXT and ASSOCIATION these ruling puritains would attch to it: one of religious ideology, of opression and imposed guilt. The problem is that these mental trends in america are far from dead. At the time of the renaissance we could have, for example in Italy, a nude female body depicted in such a way that it amplified its true context: sheer beauty. In poetic, contexts the beauty of the female body is not severed, it is not categorised, demonised, condemned, attached to any mental religious dogma. Even clerics and the pope ordered such art. America is not full of dumbos--the rulling and predominating mental climat is dumb (neocons), it is outrageously dumb (and hipocritical): like Rumsfeld ordering to cover the breasts of a statue in some justice institution with the american flag. Rum-sucker to take such things seriously is completely imbecilic and who cares, but my intent is to give one among countless examples of why i think that America has not evolved on the ruling level(as response to the post suggesting: be grateful that America has evolved). Talking about context and association: they train kids in the states to react on the visual input of the flag--it is like the Pavlov's dog: you see the flag and your eyes tear, drooling. Too many flags there, i don't like the feel of it..i don't know, may-be i'm wrong but is reminiscent to me of a darker chapter of human's past history. In Occitania the trobadors were composing and singing songs of affection to their beloved ones already in the thirteen century. Even then, this type of secular expression
Re: Re: Renaissance america
NC is the biggest senile idiot that ever lived, and thank the Allah that he doesn't get any more airtime. RT * oh, really, and why this judgement? do you think he doesn't get air time because he is 'senile' idiot, or because of other reasons? i've listen to him on arecording talking about why and how there is no free mass media in US and why and how the rulers and the corporations make sure that nothing that is contraversial or threatens them comes out in the nationally diffused media, etc, and he didn't say a thing that was senile or idiotic. It was clear, impersonal analisys. But may-be i'm not familiar with his other, senile, aspects, which are? -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Article on String making
yeah, just red it complete-really interesting--almost temting one to try make a set or too:) there's lots of drying and waiting too, and lots of subtle feeling and skill-twisting, temperatures etc. Just when i red this now i remembered something i had forgotten about: some time ago we were at this antiquity shop and there was this bizzare harp, looked like predecessor of the classical harps-it was small but it had already the seven pedals with all kinds of levers passing through its shoulder bar. The strings were small ropes of some material like linen and were 'waxed'. I think it was bee wax. wander if it was normal practice.. The article mentioned about Dan Larson's site is very interesting. It is even more interesting to see the actual process in his string shop. Magnificent. ed Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
article-gut string making
Here is this interesting article i came across--about hte process of gut string making: http://www.daniellarson.com/article.htm -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Italian Christmas Songs
Hi Stewart, This is a page with a few: http://www.italianfolkmusic.com/xmas.html -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Renaissance america
Early colonial life was hard! The early English and Spanish colonies in North America were not characterized by much musical cultural growth, and there is little evidence of lute playing or making in those times. Musical instruments (lutes included) tended to get left at home by emigrating colonists. I think too it was tough and somehow as if regressing in time: the most dominant aspects of society at these times were the religious and the military. Regressing, because, imagine, even in England, France and Germany etc, there was renaissance: this meant putting culture, poetry, arts in high status. Such a wonderful and poetic creations in the times of Shakespeare or Dowland and his songwriters--while in the new world people prayed sweating in churches seven hours a day and heretics were expelled in the forests (the first trappers i guess-hehe), and in some places witches burnt. When i look at amish today i imagine i get a little of the scent of the mental schemes and climat that rulled then. I red these accounts by someone from there at this time and it was really stagnating and oppressive. They said, education was compulsarry but the only education there was was religious (and pretty severe). They had these guys jesuits creating even religious universities. I always thought it is sick that i can study in France in institutions of high education of superb quality for 200 dollars yearly, while my friends in US had to have the luck to have moms that make good money so they can pay the 10 000 dollars per year to get higher education. Then also normal citizen society never took over the medias there: here you see almost every night on TV philosophers, all government figures, artists, writers, free journalists, anthropologists, etc, engaging in free uncensured discussion while in the US extremely popular writers like Naom Chomsky, for example, has gotten 0 (zero) minutes TV time durring his entire life and twice 5 minutes radio time--one of which was interrupted..He gets his media time better in Canada (free country:)I don't know for when was Leonard Cohen singing democracy is comming to the usa-lol. But he's for sure is in some gestapo Black List for daring :) One thing (among many other) is cool for sure though-enourmous body of scottish and irish dance music survived (and never died) in the new continent. -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Renaissance america
Did you ever stop to think what this world would be without America as has evolved?=20 * America has not Evolved--Ray Bradbury has evolved, kurt Vonnegut has evolve= d, even Bruce Springsteen has evolved, Norman Mailer may-be too, Tom Waits = (hehe) etc, etc, you name 'em, there so many but these are saying that tren= ds in this continet are suffocating for them because everything should be = product and art intent aint worth a nickel if it does not sell massively a= nd that it is very very tough to find ways to diffuse your creations in the= re. I think the key problem in the american mental encoding is to consider = greed and arrogance as virtues or at least as tollerable attitudes. Thats= how such obvious stinks like Swarzenegger can be appriciated-through this = trend of mentality. At least there are such brave heartful people there tha= t do all the hard work and diffuse early music ,and culture in general , th= rough public radios, fundraisings and community activity. No culturally-gen= erous French or German state giving there (actually, i don't think USA has = a ministry of culture!) =20 Actually, VW, the greater portion of this particular credit belongs to Russia. RT * No one gave so many lives and blood to fight the fascists as Russia as far = as I know.=20 The weird thing i learned recently is that the American president had a Jap= anese code decoded some days before Pearl Harbour and knew about the attack= but needed pretext to enter (highly unpopular at home) war so...he ordered= the radars at Pearl Harbour to be shut (radars or submarines--someone has = the artickle?) to facilitate the Japanese. They have the (unclassified now)= documents somewhere at www.infowars.com -- Faites un voeu et puis Voila ! www.voila.fr=20 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: oldest viola picture
A shadow?. Sorry, I don't see what you're seeing. http://www.thecipher.com/viol_TimoteoViti_c1500Madonna-italy.jpg you're saying one of those bridge objects in the Viti is the shadow of the other? I'm glad you recognized that viol as family (familiar) when you played it ;') The scenario I was suggesting though, is reverse. Someone might have put a bowing bridge on an earlier plucked viola. Pluckers can pluck a viol, but bowers can not bow a dedicated plucked viola (not very sucessfully at least This instrument was not too big-a little bigger than a guitar--the nice thing was that the fingerboard was not much curved and the frets too:) In the same shop there was a very little viola (and kind of tick--seen sidewise) sise of a violin but it was under glass in a cabinet. The bridge of the one i looked at was as something like a small contrabass bridge--two distinctlty higher feet and then kind of like fiddle bridge. I for sure would have liked to test bowing but this thing was there waiting for its owner (who must have the bow). The repared the linearity of the fingerboard which had the defect of some deeper palces that make part of fret sink. I only wonder, is it not a little limiting to play things on the viol when oyu cannot bow strings simultaneously that are not neighboring? cheers R -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Re: oldest viola picture
A shadow?. Sorry, I don't see what you're seeing. http://www.thecipher.com/viol_TimoteoViti_c1500Madonna-italy.jpg you're saying one of those bridge objects in the Viti is the shadow of the other? * * Actually, i forgto the Viti pictur a little and now that i see it again i wouldn't say that there is non of a horizontal bar on the bridge (has it been a single bridge). The empty space under it looks like the shadows of the bridges in the pictures i posted yesterday, may thats why i mixed it somehow. If it is two bridges though there will be a conflict with the height of the fingerboard. The pic is weird indeed (the width you talk about). It looks to me like a single bridge whos vertacal bars are eaten by the bad quality of the image and of image compression..who knows.. -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Renaissance america
Normally people like you give away free bibles. How about a free viol? :-) Stephan Would be cool. Like i was thinking recently, what if America was not conquered and developed under the sign of stiff puritans but by the Italians (without the Savanarola part though-hehe)just when there was the Renaissance and everything went renaissancewise...Thiw part of the world could have been a better palce then--with less stupidity and mutual hate (everyone suing eachother-lol)..oh well -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
oldest viola picture
Here, this they say is the oldest painting where they portray viola (its from quatro cento towards end i think). Link: http://www.mdw.ac.at/I105/orpheon/Seiten/education/OldestVioladagamba.htm Here is a page with lots of old viola bridges and they are pretty consistent. Looks like the second bridge on the Viti picture is merely the shadow of the actual bridge (since there is no lower horizontal bar on the old bridges). The shadow is exactly as the angle view of the typical ancient bridge as seen on this page: http://www.mdw.ac.at/I105/orpheon/Seiten/education/BridgesVdg.htm The other day i was at this luthier and he does a lot (mostly how he makes living) repares. On the counter was a viola da gamba. I played the thing as if it were a lute (i play renaissance lute). Believe me there was no need for a second bridge! It was delight to see this thing was tuned in a famigliar way:) -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
songs
Hello dear ppl, i've put recently this page with songs i mixed up recently. You can listen to entire songs here: http://perso.wanadoo.fr/raydimitry/lovesongs.htm -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: lute boat
... SAN FRANCISCO -- When artist Brian Goggin talks about transforming a 30-foot wooden boat into the world's biggest lute, he envisions the instrument's appearing one day in distant ports as a musical envoy for San Francisco. .. Musical Boat..this reminds me of John Keely's flying platform--the platform had a great number of vibrating and resonating small metal plates regulated by something like a keyboard. Keely produced carefully calculated vibrations and harmonics that degraded the effect of gravity? His platform flew with hundreds of miles/h speed and was not affected even by the air/wind around (antigravity 'bubble'). Keely demonstrated his invention in action infront of numerous members of the American Scientific Society and the army and hoped that someone would get him a contract, but they...were not interested.. Hope there woyldn't be any kids around on the soundboard if any of the lute's strings breaks! -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
String Action
Dear ppl, i'm sure most of you are aware of this: that the string action on the lute is not exactly equal to the distance between the surface and height of the holes on the bridge but gets pulled higher by the ballance of the two forces-of the loop and the peg. So, in my case, i have the action a little bit too high for smooth play. Had it been that the strings just came straight out of theholes of the bridge without loops (important for the temper of sound i'm sure), i would have had the height from the fingerboard i look for (about 3mm or little less). But It is not the case. My question is, is there a standard procedure of fiddling with the action of the strings appart from ungueing the bridge and thinning it? Drilling new set of holes under the existent ones? Or may-be just passing the strings straight through the holes without loops (may result in a indian citar-like sound--aaargghh:))) thanks a lot for attention! r -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Viola perspective
Hi Roger, i just got home now late and will read your messages tomorrow--sorry for the delay. Now i only red the last one and will reply quickly to it: No doubt it will be a leaning bridge, or badly drawn (perspectivewise) bridge, the way it is on the picture. However, i don't know what the reputation of this artist Viti is but i can do better than him even while sleeping (am joking, not being rude-hehe). Notice that his perspective of the pegbox of the instument is completely twisted already: the pegbox is twisted and it looks as if it should belong to another viola that is seen much more from the right side view. I like the drawing though, doesn't matter the faults :)) Hi Rosinfiorini; let me just clearify that the problem with the bridge in general, and the way you've connected those dots, is that this artist _knows_ how to draw good perspective. If you look at the right side edge of the viol's face, as it drops down the side of instrument, all the well exicuted perspective and geometry of those boxy edges and sides of the middle waist bout, you can see how true this is. Now if you go back the the bridge, if it were all one connected piece, it's perspective (in relation to all other prespective on the viol) would be way off -- the work of a talented 5 year old perhaps, but not Viti. That rendering would not pass muster, would never get out the door (or on the wall) with Viti's name and reputation attached to it, I believe. So, if for no other reason, that's why I'm not ready to accept that we're looking at one connected piece of bridgework. In your minds eye, imagine standing a boxed deck of cards or cigarette pack upright on it's long narrow edge on top of the face of that instrument, perpendicular to the face of the viola. http://www.thecipher.com/viol_TimoteoViti_c1500Madonna-italy.jpg can you see the kind of perspective it would create, and the kind of perspective Viti would have seen? He sees the correct perspective just 2 or 3 inches away at the right side of the instrument, so why can't he see it for the bridge? Thanks Roger To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
pegbox drawing
If I were to draw Viti=92s pegbox in a correct perspective, I=92d draw it l= ike this: http://perso.wanadoo.fr/raydimitry/imagini/Violapeg.jpg but this is only my five-minutes/fifty cents (sleepy) scratch =96about thre= e times faster than what it took to draw this trash with the mouse yesterd= ay-haha). =20 Of course, we are just being silly (I imagine:) talking about perspective c= oncerning these artists: I feel that their manierism and =91period=92-tende= ncies that come with their pieces are something very neat and radiates like= that even stronger this scent from renaissance times (hey that=92s only ye= sterday!) LatersJ) R =20 -- Faites un voeu et puis Voila ! www.voila.fr=20 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Re: Wire strings
They tried to taxonomize us all, and put us into little categories. Hey, I'm not a category, I'm what I am. I've got my MTV and can relate! I rather hope that we both have a bit of humor in our humor. yeah, absolutely, Jon:) humour would make us survive the invasion of the machines--they can program us (in their own image) with zero-s and one-s (binary-01), black and white, you name the dichotomy..., but then suddenly we'got humour, selfhumour and laughter and that's like a virus in any dumbing and rigidifying system-hehe. and you, category--never, anyone should consider themselves as a magical being full of endless hidden resourses (like Bart i guess), and not an inventory of two three strong points and twothree handicaps (Homer..what was his forte, i forgot). the only pitfall of the fluid magical tribes was that as they didn't indulge into taxonomizing and making categories they got all their knowledge lost in time (like the tears of the replicant from Bladerunner..)-their knowledge was first hand accounts passed live from person to person.. cheers! r Hey man, you got it straight. Them old farts writing in those days really didn't have a clue. What is this crap about a wine dark sea that this guy Homer wrote (was his last name Simpson?). What color is wine dark? Yeah, they all got it wrong, the Norse and the Greeks. They tried to taxonomize us all, and put us into little categories. Hey, I'm not a category, I'm what I am. I've got my MTV and can relate! I rather hope that we both have a bit of humor in our humor. Best, Jon Scyld guy is the father or the Beowlf-dork. i was reading once through this= beoulf text and was just amazed how dull, stiff and farty (selfimportant) = the flavour of it. You read anglosaxon texts and you'd think these people w= ere colordefective: in celtic texts (like mabingion) you have all these fla= res of gold, green, purple, blue with whole range of depths and shining. In= the beoulf thing there is like: grey fog, white lightning black earth...(h= aha exagerating but something like that. and so much magic in the celtic on= es! i have feeling there is something profoundly screwed with the nordic's = (saxon included) cultural conditioning.=20 It's like, i was reading this most brilliant creator, --Tarkovski, and he w= as saying: look at the sweds, they got it all aranged, they've got it all = taxonomized, cleaned, sorted out, they have everything they need yet they a= re no happy, no spark, where is the heart the magic..(paraphrazed-him talki= ng about the cruel grey of the mondane overtaking the world...within...) I'm always happy to reply to snippy snippets, But word for word isn't the sense of a story. Reading is for meaning, translation is for detail. =20 Hw=E6t! We Gardena in geardagum, =DEeodcyninga, =DErym gefrunon, hu =F0a =E6=DEelingas ellen fremedon. Oft Scyld Scefing scea=DEena =DEreatum, =20 Hear this, the (Danish warriors) of olden days and their kings had braver= y and prowess. There existed a Scyld Scefing the bane of peoples. =20 (Scyld is translated into English as shield, and a varient is used in the military descriptions of the Scot's tactics against the English, (can't remember how to spell it, something like Skyldron meaning shield wall - a rather less organized parallel to the ancient phalanx of the Greeks and Romans). =20 BTW, where did you find that font, is it a standard on M$ or an add on? A= nd that 4th line is normally inset in modern format as it is the beginning o= f a new thought. =20 =20 5 monegum m=E6g=DEum, meodosetla ofteah, =20 =20 OK, here we get into the fact that this was one bad lad, he broke up the bars and messed with the troops. =20 I'll not claim I can read this without a dictionary, nor can I read old Gaelic without one. Come to think of it I need a dictionary to read Frenc= h or German (which I didn't need fifty years ago). =20 The real point was that languages change, but there is a consistancy with= in the change. Chaucer is easy if you know both English and French, plus a little Briton, he was an early combiner in writing. The Old English of Beowulf contains may of the root words so one can find constructions (as = in Gardena in the first line) that can be sorted out. I called it Danish warriors, others have been more literal with sword Danes. But we see th= e similar root of guard and the nation of Danes (dena). All the Indo Europe= an languages have similar roots, one just needs to sort them out - sometimes= a very difficult process. =20 Best, Jon =20 =20 =20 =20 =20 =20 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html =20 -- Faites un voeu et puis Voila !
Re: Re: guitar to lute
Hi Vance, i'm using Savarez strings-the high tension ones (they make them in three tension modes from which the softest is useless i feel). The chanterelle single one was supposed to be also from the standard guitar savarez set but i broke it so i found some left over strings from a celtic harp (also savarez and exactly the same quality as the guitar ones) and so replaced the broken one with a slightly thinner harp string. One note on why the small string broke--may halp anone constructing for the first time avoid same string breaking thing: make the channels one the nut piece really rounded--as the strings pass from the pegbox to the fingerboard they will break if there is some sharp angle. This is an interesting solution, you have basically reversed engineered a classical guitar into a quasi-viheula. What kind of strings are you using on it? Vance Wood. - Original Message - From: rosinfiorini To: Sent: Tuesday, November 30, 2004 9:32 PM Subject: guitar to lute i'm waiting for a renaissance lute 8c to arrive but in the meantime made this to get fingers used to the feel of double strings. In case someone may like to make something similar (like you have these many course lutes but want a six course, etc) here is the photo. the thing works very fine, only i tune it to re because mi is a little too 'mandoline-like' feeling(tense). http://perso.wanadoo.fr/raydimitry/imagini/IMG_00.jpg to have this you need to do the pegbox, the bone pice of the bridge with small notches and holes with harp-pins on the bridge. I have used one whole per each pair of strings-it is the bridge's notches that separates the couples... -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re: Re: guitar to lute
.in the end (hell, i should have made up my mind to type all these crams into a single message, sorry!) the guitar strings are distributed like this: Mi6 La5 Re4 Sol(bem)3 Si2 Mi1 Sol3 Si2 Mi1 Sol(bem)3 Si2 .they have this paranoid, key-word listening enourmous spying computer caled Echelon on the internet and would process billions of messages daily--this one goes there too...because i typed Mi6 ---hehehe lol -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Viola picture
Hi, if i were the lil angel in this picture(http://www.thecipher.com/viol_TimoteoViti_c1500Madonna-italy.jpg), the dark stripe that you see parallel to the bridge wouldn't be a second bridge but a stripe/piece of cloth intertwined in the strings portions after the bridge to prevent them from buzzing and reverberating in a prasite way the vibrations of the music. Probably this is the same reason that this lady has decorated her viola: http://www.mdw.ac.at/I105/orpheon/Bild-VdgG/Vdg_musscher.jpg Some other pics of violas: http://www.mdw.ac.at/I105/orpheon/Seiten/education/Violin_Vdg_Families.htm -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
ancient wire...
If you want to see how ancient metal wire can be take a look at these lovely gold and copper spirals (ortodox scientists are not very exited about people knowing about these findings, by the way). Ancient nanotechnology. In 1991-1993, gold prospectors on the Narada river on the eastern side of the Ural mountains in Russia found unusual, mostly spiral-shaped objects, the smallest measuring about 1/10,000th of an inch! The objects are composed of copper and the rare metals tungsten and molybdenum. Tests showed the objects to be between 20,000 and 318,000 years old. photos: http://www.mystae.com/streams/science/russcrew.html http://www.mystae.com/streams/science/russcrew2.html -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: ancient wire...
hehe, yeah--finally i think i start to understand what they meant by super-string theory In a message dated 11/30/2004 3:09:30 PM Eastern Standard Time, [EMAIL PROTECTED] writes: http://www.mystae.com/streams/science/russcrew2.html Clearly the result of ancient Celts operating a Celtic harp overspun metal string factory in the Ural Mountains masquerading as early technogenic Russians. -d. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Faites un voeu et puis Voila ! www.voila.fr --
Re: Re: Wire strings
(Scyld is translated into English as shield, and a varient is used in the military descriptions of the Scot's tactics against the English, (can't remember how to spell it, something like Skyldron meaning shield wall - a rather less organized parallel to the ancient phalanx of the Greeks and Romans). Scyld guy is the father or the Beowlf-dork. i was reading once through this= beoulf text and was just amazed how dull, stiff and farty (selfimportant) = the flavour of it. You read anglosaxon texts and you'd think these people w= ere colordefective: in celtic texts (like mabingion) you have all these fla= res of gold, green, purple, blue with whole range of depths and shining. In= the beoulf thing there is like: grey fog, white lightning black earth...(h= aha exagerating but something like that. and so much magic in the celtic on= es! i have feeling there is something profoundly screwed with the nordic's = (saxon included) cultural conditioning.=20 It's like, i was reading this most brilliant creator, --Tarkovski, and he w= as saying: look at the sweds, they got it all aranged, they've got it all = taxonomized, cleaned, sorted out, they have everything they need yet they a= re no happy, no spark, where is the heart the magic..(paraphrazed-him talki= ng about the cruel grey of the mondane overtaking the world...within...) I'm always happy to reply to snippy snippets, But word for word isn't the sense of a story. Reading is for meaning, translation is for detail. =20 Hw=E6t! We Gardena in geardagum, =DEeodcyninga, =DErym gefrunon, hu =F0a =E6=DEelingas ellen fremedon. Oft Scyld Scefing scea=DEena =DEreatum, =20 Hear this, the (Danish warriors) of olden days and their kings had braver= y and prowess. There existed a Scyld Scefing the bane of peoples. =20 (Scyld is translated into English as shield, and a varient is used in the military descriptions of the Scot's tactics against the English, (can't remember how to spell it, something like Skyldron meaning shield wall - a rather less organized parallel to the ancient phalanx of the Greeks and Romans). =20 BTW, where did you find that font, is it a standard on M$ or an add on? A= nd that 4th line is normally inset in modern format as it is the beginning o= f a new thought. =20 =20 5 monegum m=E6g=DEum, meodosetla ofteah, =20 =20 OK, here we get into the fact that this was one bad lad, he broke up the bars and messed with the troops. =20 I'll not claim I can read this without a dictionary, nor can I read old Gaelic without one. Come to think of it I need a dictionary to read Frenc= h or German (which I didn't need fifty years ago). =20 The real point was that languages change, but there is a consistancy with= in the change. Chaucer is easy if you know both English and French, plus a little Briton, he was an early combiner in writing. The Old English of Beowulf contains may of the root words so one can find constructions (as = in Gardena in the first line) that can be sorted out. I called it Danish warriors, others have been more literal with sword Danes. But we see th= e similar root of guard and the nation of Danes (dena). All the Indo Europe= an languages have similar roots, one just needs to sort them out - sometimes= a very difficult process. =20 Best, Jon =20 =20 =20 =20 =20 =20 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html =20 -- Faites un voeu et puis Voila ! www.voila.fr=20 --
guitar to lute
i'm waiting for a renaissance lute 8c to arrive but in the meantime made this to get fingers used to the feel of double strings. In case someone may like to make something similar (like you have these many course lutes but want a six course, etc) here is the photo. the thing works very fine, only i tune it to re because mi is a little too 'mandoline-like' feeling(tense). http://perso.wanadoo.fr/raydimitry/imagini/IMG_00.jpg to have this you need to do the pegbox, the bone pice of the bridge with small notches and holes with harp-pins on the bridge. I have used one whole per each pair of strings-it is the bridge's notches that separates the couples... -- Faites un voeu et puis Voila ! www.voila.fr -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
