subject:"\[LUTE\] Re\: theorbo"

[LUTE] Re: theorbo repertoire

2019-04-21 Thread Jean-Marie Poirier

   The pieces are without titles in the ms but Gordon J. Callon who edited
   and studied them suggests "voluntary" as a traditional name for English
   fantasies, what they are !

   Jean-Marie

   Le 21 avr. 2019 Ã  16:31, Roman Turovsky <[1]r.turov...@gmail.com> a
   Ã©crit :

 From Lynda Sayce:
 "I suspect all theorbo players are subliminally aware of the heavy
 key bias in the historic repertory.
 It rears its head every time we're asked to supply a little link
 piece for a programme, always in a key
 in which no theorbo music survivesâ¦! The (original) index of the
 Vaudry de Saizenay manuscript (1699),
 which you probably know, gives a pretty good overview of the keys
 used, and their relative importance
 in the repertory. It assumes an instrument in A. The situation with
 the Italian sources is somewhat similar
 (though this is only a casual âoff the top of my head' mental
 survey): again assuming A tuning, you'll find
 a lot in G major and G minor, D major and D minor. Surprisingly
 little in A major or A minor, which you
 would expect to be much-used keys. A reasonable amount in C major
 and F major.
 Other keys are much less common."

   RT

   On 4/20/2019 4:22 AM, Jean-Marie POIRIER wrote:

 John Wilson has also Voluntaries in these keys !

 Jean-Marie

 > Message du 19/04/19 23:02
 > De : "magnus andersson" [2]
 > A : "Roman Turovsky" [3], "Lute Net"
 [4]
 > Copie Ã  :
 > Objet : [LUTE] Re: theorbo repertoire
 >
 > Dear Roman,
 >
 > Not true :)
 > On the top of my head:
 > Bartolotti in A- Wn 17706 ( e minor)
 > De Visï¿½ï¿½ï¿½ï¿½e in Saizenay ( b minor and e minor)
 > [1]Skickat frï¿½ï¿½ï¿½ï¿½n Yahoo Mail fï¿½ï¿½ï¿½ï¿½r iPhone
 >
 > Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
 > [5]:
 >
 > A question to the collective wisdom:
 >
 > Someone mentioned to me that there are practically no surviving
 solo
 >
 > theorbo pieces in e-minor or b-minor.
 >
 > Is that true?
 >
 > RT
 >
 > To get on or off this list see list information at
 >
 > [2][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 > --
 >
 > References
 >
 > 1. [7]https://overview.mail.yahoo.com/?.src=iOS
 > 2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

References

   1. mailto:r.turov...@gmail.com
   2. mailto:maan7...@cs.dartmouth.edu
   3. mailto:r.turov...@gmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:r.turov...@gmail.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. https://overview.mail.yahoo.com/?.src=iOS
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-21 Thread Jean-Marie Poirier

   No, for English theorbo !

   Le 21 avr. 2019 Ã  16:31, Roman Turovsky <[1]r.turov...@gmail.com> a
   Ã©crit :

 From Lynda Sayce:
 "I suspect all theorbo players are subliminally aware of the heavy
 key bias in the historic repertory.
 It rears its head every time we're asked to supply a little link
 piece for a programme, always in a key
 in which no theorbo music survivesâ¦! The (original) index of the
 Vaudry de Saizenay manuscript (1699),
 which you probably know, gives a pretty good overview of the keys
 used, and their relative importance
 in the repertory. It assumes an instrument in A. The situation with
 the Italian sources is somewhat similar
 (though this is only a casual âoff the top of my head' mental
 survey): again assuming A tuning, you'll find
 a lot in G major and G minor, D major and D minor. Surprisingly
 little in A major or A minor, which you
 would expect to be much-used keys. A reasonable amount in C major
 and F major.
 Other keys are much less common."

   RT

   On 4/20/2019 4:22 AM, Jean-Marie POIRIER wrote:

 John Wilson has also Voluntaries in these keys !

 Jean-Marie

 > Message du 19/04/19 23:02
 > De : "magnus andersson" [2]
 > A : "Roman Turovsky" [3], "Lute Net"
 [4]
 > Copie Ã  :
 > Objet : [LUTE] Re: theorbo repertoire
 >
 > Dear Roman,
 >
 > Not true :)
 > On the top of my head:
 > Bartolotti in A- Wn 17706 ( e minor)
 > De Visï¿½ï¿½ï¿½ï¿½e in Saizenay ( b minor and e minor)
 > [1]Skickat frï¿½ï¿½ï¿½ï¿½n Yahoo Mail fï¿½ï¿½ï¿½ï¿½r iPhone
 >
 > Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
 > [5]:
 >
 > A question to the collective wisdom:
 >
 > Someone mentioned to me that there are practically no surviving
 solo
 >
 > theorbo pieces in e-minor or b-minor.
 >
 > Is that true?
 >
 > RT
 >
 > To get on or off this list see list information at
 >
 > [2][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 > --
 >
 > References
 >
 > 1. [7]https://overview.mail.yahoo.com/?.src=iOS
 > 2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

References

   1. mailto:r.turov...@gmail.com
   2. mailto:maan7...@cs.dartmouth.edu
   3. mailto:r.turov...@gmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:r.turov...@gmail.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. https://overview.mail.yahoo.com/?.src=iOS
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-21 Thread Roman Turovsky

   From Lynda Sayce:
   "I suspect all theorbo players are subliminally aware of the heavy key
   bias in the historic repertory.
   It rears its head every time we're asked to supply a little link piece
   for a programme, always in a key
   in which no theorbo music survivesâ¦! The (original) index of the Vaudry
   de Saizenay manuscript (1699),
   which you probably know, gives a pretty good overview of the keys used,
   and their relative importance
   in the repertory. It assumes an instrument in A. The situation with the
   Italian sources is somewhat similar
   (though this is only a casual âoff the top of my head' mental survey):
   again assuming A tuning, you'll find
   a lot in G major and G minor, D major and D minor. Surprisingly little
   in A major or A minor, which you
   would expect to be much-used keys. A reasonable amount in C major and F
   major.
   Other keys are much less common."

   RT

   On 4/20/2019 4:22 AM, Jean-Marie POIRIER wrote:

   John Wilson has also Voluntaries in these keys !

   Jean-Marie

 > Message du 19/04/19 23:02
 > De : "magnus andersson" [1]
 > A : "Roman Turovsky" [2], "Lute Net"
 [3]
 > Copie Ã  :
 > Objet : [LUTE] Re: theorbo repertoire
 >
 > Dear Roman,
 >
 > Not true :)
 > On the top of my head:
 > Bartolotti in A- Wn 17706 ( e minor)
 > De Visï¿½ï¿½ï¿½ï¿½e in Saizenay ( b minor and e minor)
 > [1]Skickat frï¿½ï¿½ï¿½ï¿½n Yahoo Mail fï¿½ï¿½ï¿½ï¿½r iPhone
 >
 > Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
 > [4]:
 >
 > A question to the collective wisdom:
 >
 > Someone mentioned to me that there are practically no surviving
 solo
 >
 > theorbo pieces in e-minor or b-minor.
 >
 > Is that true?
 >
 > RT
 >
 > To get on or off this list see list information at
 >
 > [2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 > --
 >
 > References
 >
 > 1. [6]https://overview.mail.yahoo.com/?.src=iOS
 > 2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

References

   1. mailto:maan7...@cs.dartmouth.edu
   2. mailto:r.turov...@gmail.com
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:r.turov...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. https://overview.mail.yahoo.com/?.src=iOS
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-21 Thread Roman Turovsky

   for organ?

   RT

   On 4/20/2019 4:22 AM, Jean-Marie POIRIER wrote:

   John Wilson has also Voluntaries in these keys !


   Jean-Marie





 > Message du 19/04/19 23:02
 > De : "magnus andersson" [1]
 > A : "Roman Turovsky" [2], "Lute Net"
 [3]
     > Copie Ã  :
 > Objet : [LUTE] Re: theorbo repertoire
 >
 > Dear Roman,
 >
 > Not true :)
 > On the top of my head:
 > Bartolotti in A- Wn 17706 ( e minor)
 > De Visï¿½ï¿½ï¿½ï¿½e in Saizenay ( b minor and e minor)
 > [1]Skickat frï¿½ï¿½ï¿½ï¿½n Yahoo Mail fï¿½ï¿½ï¿½ï¿½r iPhone
 >
 > Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
 > [4]:
 >
 > A question to the collective wisdom:
 >
 > Someone mentioned to me that there are practically no surviving
 solo
 >
 > theorbo pieces in e-minor or b-minor.
 >
 > Is that true?
 >
 > RT
 >
 > To get on or off this list see list information at
 >
 > [2][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 > --
 >
 > References
 >
 > 1. [6]https://overview.mail.yahoo.com/?.src=iOS
 > 2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

References

   1. mailto:maan7...@cs.dartmouth.edu
   2. mailto:r.turov...@gmail.com
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:r.turov...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. https://overview.mail.yahoo.com/?.src=iOS
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-20 Thread Jean-Marie POIRIER

   John Wilson has also Voluntaries in these keys !


   Jean-Marie





 > Message du 19/04/19 23:02
 > De : "magnus andersson" 
 > A : "Roman Turovsky" , "Lute Net"
     
     > Copie Ã  :
 > Objet : [LUTE] Re: theorbo repertoire
 >
 > Dear Roman,
 >
 > Not true :)
 > On the top of my head:
 > Bartolotti in A- Wn 17706 ( e minor)
 > De VisÃ¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½e in Saizenay ( b minor and e minor)
 > [1]Skickat frÃ¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½n Yahoo Mail 
fÃ¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½Ã¯Â¿Â½r iPhone
 >
 > Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
 > :
 >
 > A question to the collective wisdom:
 >
 > Someone mentioned to me that there are practically no surviving
 solo
 >
 > theorbo pieces in e-minor or b-minor.
 >
 > Is that true?
 >
 > RT
 >
 > To get on or off this list see list information at
 >
 > [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 > --
 >
 > References
 >
 > 1. https://overview.mail.yahoo.com/?.src=iOS
 > 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

[LUTE] Re: theorbo repertoire

2019-04-19 Thread Alain Veylit

I think someone confused a theorbo with a lute in G... Em and Bm are not 
friendly keys on a Ren. lute in G.



On 4/19/19 6:30 PM, John Trout wrote:

Roman, Saizenay has an E minor and B minor suite by de Visee.

John

On 4/19/19, 4:14 PM, "Roman Turovsky"  wrote:

 A question to the collective wisdom:
 Someone mentioned to me that there are practically no surviving solo
 theorbo pieces in e-minor or b-minor.
 Is that true?
 
 RT
 
 
 
 
 To get on or off this list see list information at

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

[LUTE] Re: theorbo repertoire

2019-04-19 Thread John Trout

Roman, Saizenay has an E minor and B minor suite by de Visee.

John

On 4/19/19, 4:14 PM, "Roman Turovsky"  wrote:

A question to the collective wisdom:
Someone mentioned to me that there are practically no surviving solo 
theorbo pieces in e-minor or b-minor.
Is that true?

RT




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

[LUTE] Re: theorbo repertoire

2019-04-19 Thread Mathias Rösel

Does de Visée count (ms. Saizenay)?

Mathias

-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Jerzy Zak
Gesendet: Freitag, 19. April 2019 22:43
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: theorbo repertoire

Roman,

Kapsperger covers partly your search. Look at L. IV d'intav di chitarrone
1640:

Preludio 5to - e-minor (finalis E-major)
Preludio 6to - e-minor (finalis E-major)
Toccata 3za - e-minor (finalis E-major)
Toccata 4ta - E-major!
Passacaglia on p. 34 - e-minor
Corrente on p. 46 - e-minor

This is one of the nicest key on theorbo.
No pieces in b-minor in this collection, however.
J
---

> On 19 Apr 2019, at 22:12, Roman Turovsky  wrote:
> 
> A question to the collective wisdom:
> Someone mentioned to me that there are practically no surviving solo
theorbo pieces in e-minor or b-minor.
> Is that true?
> 
> RT
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-19 Thread magnus andersson

   Dear Roman,

   Not true :)
   On the top of my head:
   Bartolotti in A- Wn 17706 ( e minor)
   De VisÃÂ©e in Saizenay ( b minor and e minor)
   [1]Skickat frÃÂ¥n Yahoo Mail fÃÂ¶r iPhone

   Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
   :

   A question to the collective wisdom:

   Someone mentioned to me that there are practically no surviving solo

   theorbo pieces in e-minor or b-minor.

   Is that true?

   RT

   To get on or off this list see list information at

   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

2019-04-19 Thread Jerzy Zak

Roman,

Kapsperger covers partly your search. Look at L. IV d'intav di chitarrone 1640:

Preludio 5to - e-minor (finalis E-major)
Preludio 6to - e-minor (finalis E-major)
Toccata 3za - e-minor (finalis E-major)
Toccata 4ta - E-major!
Passacaglia on p. 34 - e-minor
Corrente on p. 46 - e-minor

This is one of the nicest key on theorbo.
No pieces in b-minor in this collection, however.
J
---

> On 19 Apr 2019, at 22:12, Roman Turovsky  wrote:
> 
> A question to the collective wisdom:
> Someone mentioned to me that there are practically no surviving solo theorbo 
> pieces in e-minor or b-minor.
> Is that true?
> 
> RT
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo music

2019-03-27 Thread Matthew Daillie

Hi again Jeff,

I forgot, there are also some pieces in the Manuscrit Rés 1106 (Bibliothèque 
Nationale de Paris) which must be online somewhere because I have a (rather 
poor quality) scan on my HD. Send me a private message if you can't find it and 
I shall try to extract the relevant pieces from what is rather a large file.

Best,

Matthew


Le 26 mars 2019 à 23:34, jjnoo...@sbcglobal.net a écrit :

> Hi, folks—
> 
> I’m trying to track down scores (facsimile or edition) of solo theorbo music 
> by Etienne Le Moine (seems to be some variety in names—Estienne Lemoyne, 
> Estienne Le Moyne, etc.)
> 
> Appears that he left fewer than 10 pieces and that these all survive in 
> manuscript.
> 
> I can do the library digging if necessary, but I’d prefer to spend my time 
> playing the music, rather than tracking it down. If someone on the list can 
> point me to a more readily available source (digital or print), I’d be very 
> much obliged.
> 
> Thanks for help.
> 
> jeff
> 
> 
> --
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo music

2019-03-27 Thread Matthew Daillie

There are a number of pieces by Le Moyne in the Saizenay manuscript online here:

http://culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1

Best,

Matthew


Le 26 mars 2019 à 23:34, jjnoo...@sbcglobal.net a écrit :

> Hi, folks—
> 
> I’m trying to track down scores (facsimile or edition) of solo theorbo music 
> by Etienne Le Moine (seems to be some variety in names—Estienne Lemoyne, 
> Estienne Le Moyne, etc.)
> 
> Appears that he left fewer than 10 pieces and that these all survive in 
> manuscript.
> 
> I can do the library digging if necessary, but I’d prefer to spend my time 
> playing the music, rather than tracking it down. If someone on the list can 
> point me to a more readily available source (digital or print), I’d be very 
> much obliged.
> 
> Thanks for help.
> 
> jeff
> 
> 
> --
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo music

2019-03-26 Thread yuval . dvoran


In Goess there's also one piece, and two more in F-Pn Vm.7 6265:

"LE MOYNE (Le moine, Lemoinne, Lemoine, Lemoyne)

Allemande, A-ETgoëss Th, 62

Allemande, F-B 279.152, 47

Allemande, F-B 279.152, 284

Allemande, F-B 279.152, 348

Allemande, F-Pn Rés. 1106, 16

Allemande, F-Pn Vm.7 6265, 46

Allemande, F-Pn Vm.7 6265, 56

Allemande grave, F-B 279.152, 357

Courante, F-B 279.152, 48

Courante, F-B 279.152, 326

Courante, F-Pn Rés. 1106, 19

Gigue grave, F-B 279.152, 349

Marche, F-Pn Rés. 1106, 11

Prélude, F-Pn Rés. 1106, 10

Sarabande, F-B 279.152, 49

Sarabande, F-B 279.152, 285

Sarabande, F-Pn Rés. 1106, 21"

It's from: https://w1.bnu.fr/smt/index.htm (Sources manuscrit en 
tabulature)


Enjoy!
Yuval


Am 26.03.2019 23:34 schrieb jjnoo...@sbcglobal.net:

Hi, folksâ€”

Iâ€™m trying to track down scores (facsimile or edition) of solo
theorbo music by Etienne Le Moine (seems to be some variety in
namesâ€”Estienne Lemoyne, Estienne Le Moyne, etc.)

Appears that he left fewer than 10 pieces and that these all survive
in manuscript.

I can do the library digging if necessary, but Iâ€™d prefer to spend
my time playing the music, rather than tracking it down. If someone on
the list can point me to a more readily available source (digital or
print), Iâ€™d be very much obliged.

Thanks for help.

jeff


--

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

[LUTE] Re: Theorbo in France - books and articles

2019-03-08 Thread yuval . dvoran


Dear Andreas,

This site I know already, and even some of the entries for Germany are 
from me ;-)


Trotzdem vielen Dank Dir!
Yuval

Am 08.03.2019 08:55 schrieb Andreas Schlegel:

Dear Yuval

An important ressource is here:
http://www.tiorba.eu/timeline.html
The menue at the right side allows to filter after countries etc.

Enjoy!

Andreas


Am 08.03.2019 um 04:23 schrieb yuval.dvo...@posteo.de:

Hello everybody,

what would you say ist the most important literature concerning the 
history ofthe theorbo (as an instrument, not concerning music for the 
theorbo) in France?

On my list are until now:

Michael Prynne: â€žJames Talbotâ€™s Manuscript, IV: Plucked Strings 
â€“ the Lute Familyâ€œ, The Galpin Society Journal 14 (1961), S. 
52â€“68;
Robert Spencer: â€œChitarrone, Theorbo and Archluteâ€œ, in: Early 
Music Vol. 4, No. 4, 1976, S. 408â€“422;
Ingo Negwer: â€žLaute und Theorbe in Marin Mersennes Harmonie 
universelleâ€œ, Frankfurt am Main (Deutsche Lautengesellschaft) 2000;
Lynda Sayce â€žThe development of Italianate continuo lutesâ€œ, Open 
University 2001.


Any other books and articles which shouldn't be missing here? I don't 
need a complete list, only the most important works about this topic.


Thank you very much! :-)
Yuval

P.S.: I wonder if nothing in French appeared, but I was unable to find 
something




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


Andreas Schlegel
Eckstr. 6
CH-5737 Menziken
Festnetz +41 (0)62 771 47 07
Mobile +41 (0)78 646 87 63
lute.cor...@sunrise.ch




--

[LUTE] Re: Theorbo in France - books and articles

2019-03-08 Thread Andreas Schlegel

Dear Yuval

An important ressource is here:
http://www.tiorba.eu/timeline.html
The menue at the right side allows to filter after countries etc.

Enjoy!

Andreas

> Am 08.03.2019 um 04:23 schrieb yuval.dvo...@posteo.de:
> 
> Hello everybody,
> 
> what would you say ist the most important literature concerning the history 
> ofthe theorbo (as an instrument, not concerning music for the theorbo) in 
> France?
> On my list are until now:
> 
> Michael Prynne: âJames Talbotâs Manuscript, IV: Plucked Strings â the 
> Lute Familyâ, The Galpin Society Journal 14 (1961), S. 52â68;
> Robert Spencer: âChitarrone, Theorbo and Archluteâ, in: Early Music Vol. 
> 4, No. 4, 1976, S. 408â422;
> Ingo Negwer: âLaute und Theorbe in Marin Mersennes Harmonie universelleâ, 
> Frankfurt am Main (Deutsche Lautengesellschaft) 2000;
> Lynda Sayce âThe development of Italianate continuo lutesâ, Open 
> University 2001.
> 
> Any other books and articles which shouldn't be missing here? I don't need a 
> complete list, only the most important works about this topic.
> 
> Thank you very much! :-)
> Yuval
> 
> P.S.: I wonder if nothing in French appeared, but I was unable to find 
> something
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

Andreas Schlegel
Eckstr. 6
CH-5737 Menziken
Festnetz +41 (0)62 771 47 07
Mobile +41 (0)78 646 87 63
lute.cor...@sunrise.ch




--

[LUTE] Re: Theorbo music for archlute

2017-05-07 Thread Anthony Hart

   Sorry about repeat my computer seems to have a mind of its own!
   On Sun, May 7, 2017 at 10:55 PM Anthony Hart
   <[1]anthony.hart1...@gmail.com> wrote:

Has anybody tried transcribing music for Theorbo in A to be
 played on
Archlute in G? What transposition could be used.
--

 __
Anthony Hart   MSc, LLCM,ALCM.
Musicologist   and   Independent   Researcher
Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
Mob: +356 9944 9552.
e-mail:   [1][2]resea...@antoninoreggio.com; web:
[2][3]www.monsignor-reggio.com
NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
-   [3][4]www.edizionear.com
for information and special offer
--
 References
1. mailto:[5]resea...@antoninoreggio.com
2. [6]http://www.monsignor-reggio.com/
3. [7]http://www.edizionear.com/
 To get on or off this list see list information at
 [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

   __
   Anthony Hart  MSc, LLCM,ALCM.
   Musicologist  and  Independent  Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Mob: +356 9944 9552.
   e-mail:  [9]resea...@antoninoreggio.com; web:
   [10]www.monsignor-reggio.com
   NEW  Publications:  EDIZIONE  ANTONINO  REGGIO
   -  [11]www.edizionear.com
   for information and special offer

   --

References

   1. mailto:anthony.hart1...@gmail.com
   2. mailto:resea...@antoninoreggio.com
   3. http://www.monsignor-reggio.com/
   4. http://www.edizionear.com/
   5. mailto:resea...@antoninoreggio.com
   6. http://www.monsignor-reggio.com/
   7. http://www.edizionear.com/
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. mailto:resea...@antoninoreggio.com
  10. http://www.monsignor-reggio.com/
  11. http://www.edizionear.com/

[LUTE] Re. Theorbo music on archlute

2017-05-07 Thread Mathias Rösel

Ask Arto Wikla. He has successfully done a lot on that field.
Mathias

-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Anthony Hart
Gesendet: Sonntag, 7. Mai 2017 18:35
An: lute
Betreff: [LUTE] Theorbo music on archlute

   Has anyone transcribed  music for theorbo in A to be played on Archlute
   in G? What transposition could be used?
   Many thanks
   Anthony
   --
   __
   Anthony Hart  MSc, LLCM,ALCM.
   Musicologist  and  Independent  Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Mob: +356 9944 9552.
   e-mail:  [1]resea...@antoninoreggio.com; web:
   [2]www.monsignor-reggio.com
   NEW  Publications:  EDIZIONE  ANTONINO  REGGIO
   -  [3]www.edizionear.com
   for information and special offer

   --

References

   1. mailto:resea...@antoninoreggio.com
   2. http://www.monsignor-reggio.com/
   3. http://www.edizionear.com/


To get on or off this list see list information at
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[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-10 Thread Peter Kwasniewski

   Thanks to everyone for the suggestions (including those that came to me
   by direct email rather than on the listserve).
   This will keep Julian plenty busy!

   On Fri, Feb 10, 2017 at 2:47 AM, David van Ooijen
   <[1]davidvanooi...@gmail.com> wrote:

The Spanish Vihuela Society published a really nice collection of
Baroque pieces arranged for R-lute. Lots of French Baroque and a
 fair
dose of Bach and Weiss. I enjoyed the book.
La Dedicasse
Musica Baroca
transcrita para laud renacentista
Sociedad de la Vihuela
***
David van Ooijen
[1][2]davidvanooi...@gmail.com
[2][3]www.davidvanooijen.nl
***
On 10 February 2017 at 09:38, Rob MacKillop
 <[3][4]robmackil...@gmail.com>
wrote:
 That's what I meant to say, but I was still half asleep...
 Rob
 On 10 Feb 2017 08:34, "Albert Reyerman"
 <[1][4][5]albertreyer...@kabelmail.de> wrote:
   Infact the TREE edition shows Visee pieces for theorbo
   arranged for archlute in FRENCH tablature.
   Regards
   Albert Reyerman
   TREE EDITION
   Albert Reyerman
   Finkenberg 89
   23558 Luebeck
   Germany
   [2][5][6]albertreyer...@kabelmail.de
   [3][6][7]www.tree-edition.com
   0451 899 78 48
   ---
   Fine Art Paintings
   Anke Reyerman
   [4][7][8]www.anke-reyerman.de
   Am 10.02.2017 um 08:10 schrieb Rob MacKillop:
   Check out the publications of Tree Editions. You'll find
 Robert
  de
   VisÃ Â©e pieces in Italian tuning.
   Rob
   [5][8][9]www.robmackillop.net
   On 9 Feb 2017, at 23:43, Peter Kwasniewski
   <[6][9][10]peter.kwasniew...@wyomingcatholiccollege.com>
 wrote:
  My son is renting an archlute from the LSA. He just got
 it
   yesterday
  and has been enjoying it immensely so far, playing his
   Renaissance lute
  repertoire on it.
  Since I'm the one signed up on this list, he asked me
 if I
  would
   ask
  you all whether anyone has taken any theorbo pieces and
  arranged
   them
  for archlute? E.g., de Visee's Chaconne in G or
 Kapsberger's
   Toccata
  arpeggiata?
  Beyond that, since he is still a rookie at reading
 Italian
   tablature,
  he would also be happy to work on archlute pieces
 written in
   something
  other than Italian tablature.
  Thanks for any help or links you can give.
  Peter Kwasniewski
  --
   To get on or off this list see list information at
   [7][10][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/
 index.html
   .
 --
  References
 1. mailto:[11][12]albertreyer...@kabelmail.de
 2. mailto:[12][13]albertreyer...@kabelmail.de
 3. [13][14]http://www.tree-edition.com/
 4. [14][15]http://www.anke-reyerman.de/
 5. [15][16]http://www.robmackillop.net/
 6. mailto:[16][17]peter.kwasniewski@
 wyomingcatholiccollege.com
 7. [17][18]http://www.cs.dartmouth.
 edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[19]davidvanooi...@gmail.com
2. [20]http://www.davidvanooijen.nl/
3. mailto:[21]robmackil...@gmail.com
4. mailto:[22]albertreyer...@kabelmail.de
5. mailto:[23]albertreyer...@kabelmail.de
6. [24]http://www.tree-edition.com/
7. [25]http://www.anke-reyerman.de/
8. [26]http://www.robmackillop.net/
9. mailto:[27]peter.kwasniew...@wyomingcatholiccollege.com
   10. [28]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   11. mailto:[29]albertreyer...@kabelmail.de
   12. mailto:[30]albertreyer...@kabelmail.de
   13. [31]http://www.tree-edition.com/
   14. [32]http://www.anke-reyerman.de/
   15. [33]http://www.robmackillop.net/
   16. mailto:[34]peter.kwasniew...@wyomingcatholiccollege.com
   17. [35]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Peter A. Kwasniewski, Ph.D.
   Wyoming Catholic College /  306 Main Street / Lander, WY 82520
   "We must return to the Faith of our fathers by way of the prayer of our
   fathers." John Senior
   "I entreat the people of God, the holy nation, to cling to the
   traditions of the Church. For just as the removal of one of the stones
   of a building will quickly bring ruin t

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-10 Thread David van Ooijen

   The Spanish Vihuela Society published a really nice collection of
   Baroque pieces arranged for R-lute. Lots of French Baroque and a fair
   dose of Bach and Weiss. I enjoyed the book.
   La Dedicasse
   Musica Baroca
   transcrita para laud renacentista
   Sociedad de la Vihuela

   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***
   On 10 February 2017 at 09:38, Rob MacKillop <[3]robmackil...@gmail.com>
   wrote:

That's what I meant to say, but I was still half asleep...
Rob
On 10 Feb 2017 08:34, "Albert Reyerman"
<[1][4]albertreyer...@kabelmail.de> wrote:
  Infact the TREE edition shows Visee pieces for theorbo
  arranged for archlute in FRENCH tablature.
  Regards
  Albert Reyerman
  TREEEDITION
  Albert Reyerman
  Finkenberg 89
  23558 Luebeck
  Germany
  [2][5]albertreyer...@kabelmail.de
  [3][6]www.tree-edition.com
  0451 899 78 48
  ---
  Fine Art Paintings
  Anke Reyerman
  [4][7]www.anke-reyerman.de
  Am 10.02.2017 um 08:10 schrieb Rob MacKillop:
  Check out the publications of Tree Editions. You'll find Robert
 de
  VisÃ Â©e pieces in Italian tuning.
  Rob
  [5][8]www.robmackillop.net
  On 9 Feb 2017, at 23:43, Peter Kwasniewski
  <[6][9]peter.kwasniew...@wyomingcatholiccollege.com> wrote:
 My son is renting an archlute from the LSA. He just got it
  yesterday
 and has been enjoying it immensely so far, playing his
  Renaissance lute
 repertoire on it.
 Since I'm the one signed up on this list, he asked me if I
 would
  ask
 you all whether anyone has taken any theorbo pieces and
 arranged
  them
 for archlute? E.g., de Visee's Chaconne in G or Kapsberger's
  Toccata
 arpeggiata?
 Beyond that, since he is still a rookie at reading Italian
  tablature,
 he would also be happy to work on archlute pieces written in
  something
 other than Italian tablature.
 Thanks for any help or links you can give.
 Peter Kwasniewski
 --
  To get on or off this list see list information at
  [7][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  .
--
 References
1. mailto:[11]albertreyer...@kabelmail.de
2. mailto:[12]albertreyer...@kabelmail.de
3. [13]http://www.tree-edition.com/
4. [14]http://www.anke-reyerman.de/
5. [15]http://www.robmackillop.net/
6. mailto:[16]peter.kwasniew...@wyomingcatholiccollege.com
7. [17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:robmackil...@gmail.com
   4. mailto:albertreyer...@kabelmail.de
   5. mailto:albertreyer...@kabelmail.de
   6. http://www.tree-edition.com/
   7. http://www.anke-reyerman.de/
   8. http://www.robmackillop.net/
   9. mailto:peter.kwasniew...@wyomingcatholiccollege.com
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  11. mailto:albertreyer...@kabelmail.de
  12. mailto:albertreyer...@kabelmail.de
  13. http://www.tree-edition.com/
  14. http://www.anke-reyerman.de/
  15. http://www.robmackillop.net/
  16. mailto:peter.kwasniew...@wyomingcatholiccollege.com
  17. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-10 Thread Rob MacKillop

   That's what I meant to say, but I was still half asleep...
   Rob

   On 10 Feb 2017 08:34, "Albert Reyerman"
   <[1]albertreyer...@kabelmail.de> wrote:

 Infact the TREE edition shows Visee pieces for theorbo
 arranged for archlute in FRENCH tablature.
 Regards
 Albert Reyerman
 TREE   EDITION
 Albert Reyerman
 Finkenberg 89
 23558 Luebeck
 Germany
 [2]albertreyer...@kabelmail.de
 [3]www.tree-edition.com
 0451 899 78 48
 ---
 Fine Art Paintings
 Anke Reyerman
 [4]www.anke-reyerman.de
 Am 10.02.2017 um 08:10 schrieb Rob MacKillop:

 Check out the publications of Tree Editions. You'll find Robert de
 VisÃÂ©e pieces in Italian tuning.
 Rob
 [5]www.robmackillop.net

 On 9 Feb 2017, at 23:43, Peter Kwasniewski
 <[6]peter.kwasniew...@wyomingcatholiccollege.com> wrote:
My son is renting an archlute from the LSA. He just got it
 yesterday
and has been enjoying it immensely so far, playing his
 Renaissance lute
repertoire on it.
Since I'm the one signed up on this list, he asked me if I would
 ask
you all whether anyone has taken any theorbo pieces and arranged
 them
for archlute? E.g., de Visee's Chaconne in G or Kapsberger's
 Toccata
arpeggiata?
Beyond that, since he is still a rookie at reading Italian
 tablature,
he would also be happy to work on archlute pieces written in
 something
other than Italian tablature.
Thanks for any help or links you can give.
Peter Kwasniewski
--
 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:albertreyer...@kabelmail.de
   2. mailto:albertreyer...@kabelmail.de
   3. http://www.tree-edition.com/
   4. http://www.anke-reyerman.de/
   5. http://www.robmackillop.net/
   6. mailto:peter.kwasniew...@wyomingcatholiccollege.com
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-10 Thread Albert Reyerman


Infact the TREE edition shows Visee pieces for theorbo
arranged for archlute in FRENCH tablature.

Regards
Albert Reyerman

TREE  EDITION
Albert Reyerman
Finkenberg 89
23558 Luebeck
Germany

albertreyer...@kabelmail.de
www.tree-edition.com
0451 899 78 48
---
Fine Art Paintings
Anke Reyerman
www.anke-reyerman.de

Am 10.02.2017 um 08:10 schrieb Rob MacKillop:

Check out the publications of Tree Editions. You'll find Robert de Visée pieces 
in Italian tuning.

Rob

www.robmackillop.net


On 9 Feb 2017, at 23:43, Peter Kwasniewski 
 wrote:

   My son is renting an archlute from the LSA. He just got it yesterday
   and has been enjoying it immensely so far, playing his Renaissance lute
   repertoire on it.
   Since I'm the one signed up on this list, he asked me if I would ask
   you all whether anyone has taken any theorbo pieces and arranged them
   for archlute? E.g., de Visee's Chaconne in G or Kapsberger's Toccata
   arpeggiata?
   Beyond that, since he is still a rookie at reading Italian tablature,
   he would also be happy to work on archlute pieces written in something
   other than Italian tablature.
   Thanks for any help or links you can give.
   Peter Kwasniewski

   --


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



.

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-09 Thread Rob MacKillop

Check out the publications of Tree Editions. You'll find Robert de Visée pieces 
in Italian tuning.

Rob

www.robmackillop.net 

> On 9 Feb 2017, at 23:43, Peter Kwasniewski 
>  wrote:
> 
>   My son is renting an archlute from the LSA. He just got it yesterday
>   and has been enjoying it immensely so far, playing his Renaissance lute
>   repertoire on it.
>   Since I'm the one signed up on this list, he asked me if I would ask
>   you all whether anyone has taken any theorbo pieces and arranged them
>   for archlute? E.g., de Visee's Chaconne in G or Kapsberger's Toccata
>   arpeggiata?
>   Beyond that, since he is still a rookie at reading Italian tablature,
>   he would also be happy to work on archlute pieces written in something
>   other than Italian tablature.
>   Thanks for any help or links you can give.
>   Peter Kwasniewski
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-09 Thread Charles Mokotoff

As an aside, how very cool you've got offspring playing lute! My kids have zero 
interest in early music. 

> On Feb 9, 2017, at 6:43 PM, Peter Kwasniewski 
>  wrote:
> 
>   My son is renting an archlute from the LSA. He just got it yesterday
>   and has been enjoying it immensely so far, playing his Renaissance lute
>   repertoire on it.
>   Since I'm the one signed up on this list, he asked me if I would ask
>   you all whether anyone has taken any theorbo pieces and arranged them
>   for archlute? E.g., de Visee's Chaconne in G or Kapsberger's Toccata
>   arpeggiata?
>   Beyond that, since he is still a rookie at reading Italian tablature,
>   he would also be happy to work on archlute pieces written in something
>   other than Italian tablature.
>   Thanks for any help or links you can give.
>   Peter Kwasniewski
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo repertoire arranged for archlute?

2017-02-09 Thread Roman Turovsky


http://polyhymnion.org/swv/archlute.html
RT


On 2/9/2017 6:43 PM, Peter Kwasniewski wrote:

My son is renting an archlute from the LSA. He just got it yesterday
and has been enjoying it immensely so far, playing his Renaissance lute
repertoire on it.
Since I'm the one signed up on this list, he asked me if I would ask
you all whether anyone has taken any theorbo pieces and arranged them
for archlute? E.g., de Visee's Chaconne in G or Kapsberger's Toccata
arpeggiata?
Beyond that, since he is still a rookie at reading Italian tablature,
he would also be happy to work on archlute pieces written in something
other than Italian tablature.
Thanks for any help or links you can give.
Peter Kwasniewski

--


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

[LUTE] RE : Theorbo and baroque guitar played by Miguel Rincón

2016-10-13 Thread jmpoirier2

   Highly recommended indeed !

   Best,

   Jean-Marie Poirier

   EnvoyÃ© depuis mon appareil Samsung

    Message d'origine 
   De : David Morales 
   Date : 13/10/2016 9:28 AM (GMT+01:00)
   Ã : List LUTELIST 
   Objet : [LUTE] Theorbo and baroque guitar played by Miguel RincÃ³n
  Dear lute friends,
  Let me share with you two great videos:
  [1]https://vimeo.com/186238735
  [2]https://vimeo.com/186238734
  Regards.
  --
  Cuerdas Pulsadas
  [3]www.cuerdaspulsadas.com || [4]h...@cuerdaspulsadas.com
  [5]BLOG || [6]AGENDA || [7]TIMELINE
   [8]blog [9]facebook [10]twitter [11]instagram
  --
   References
  1. https://vimeo.com/186238735
  2. https://vimeo.com/186238734
  3. http://www.cuerdaspulsadas.com/
  4. mailto:h...@cuerdaspulsadas.com
  5. http://www.cuerdaspulsadas.es/blog
  6. http://cuerdaspulsadas.es/blog/agenda/
  7. http://www.cuerdaspulsadas.com/timeline
  8. http://.cuerdaspulsadas.com/blog
  9. http://www.facebook.com/cuerdaspulsadas
 10. http://www.twitter.com/cuerdaspulsadas
 11. http://www.instagram.com/cuerdaspulsadas
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo for sale

2016-05-02 Thread Roman Turovsky


What's the bridge width on it?

RT


On 5/2/2016 12:15 PM, BENJAMIN NARVEY wrote:

--e89a8f2357afa488ad0531de4d93
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

Dear all,

Please excuse this mass email. In case you are interested please do get in
touch.

14C (NEW!!!) THEORBO BY IVO MAGHERINI (May 2015), sold with PVC
ultra-lightweight Vorko Case. 76cm/120cm. Can be set up with single or
double strings. Fantastic instrument that can be tuned as a theorbo in A or
as a ""thÃ©orbe de piÃ¨ces" in D. It can also be set up as a powerful
swan-neck baroque lute. I purchased it for certain projects in 2015, but no
longer have need of the instrument.

Asking price is â‚¬6000 (or best offer). Instrument can be seen in Paris.

Do get in touch privately for photos and other information.

Best wishes,
Benjamin Narvey








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[LUTE] Re: Theorbo in G

2016-03-19 Thread Christopher Wilke

   If you're used to the G tuning, it's an option. If you're used to the A
   tuning, an easier solution that helps with flat keys is to have the
   second string in the high octave (if your string length allows for it).
   This gives you room to add more harmonies above bass notes in lower
   positions. Also, 5 of your six fingerboard strings would then be
   identical to modern guitar, so, if you come from that background, most
   chord shapes feel familiar.

   I used to wince whenever I saw flat keys, but nowadays I don't find the
   ordinary re-entrant A tuning so much of a bother for the flats. Must be
   the jazz I attempt to crudely hack out every now and then. ;-)

   Chris
   [1]Sent from Yahoo Mail for iPhone

   On Thursday, March 17, 2016, 12:18 PM, Edward Chrysogonus Yong
wrote:

   Hi Lutefolk!
   Just a thought - would a theorbo in G be useful for playing continuo in
   flat keys?
   Edward Yong
   
   II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2
   IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
   HA| litterA| electronicA| ab iPhono missA| sunt.
   aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
   This e-mail was sent from my iPhone.
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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[LUTE] Re: Theorbo in G

2016-03-19 Thread Roland Hayes

Mentioned by a few people in early 1600s; Praetorius for one. r

-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of 
Bruno Figueiredo
Sent: Thursday, March 17, 2016 12:37 PM
To: Edward Chrysogonus Yong
Cc: Lute List
Subject: [LUTE] Re: Theorbo in G

   I have no doubt. It would work as a lute in g with reentrant tuning.

   2016-03-17 13:14 GMT-03:00 Edward Chrysogonus Yong
   <[1]edward.y...@gmail.com>:

 Hi Lutefolk!
 Just a thought - would a theorbo in G be useful for playing continuo
 in flat keys?
 Edward Yong

 II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2
 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
 HA| litterA| electronicA| ab iPhono missA| sunt.
 aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
 This e-mail was sent from my iPhone.
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas Interpretativas  pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

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

[LUTE] Re: Theorbo in G

2016-03-19 Thread Bruno Figueiredo

   I have no doubt. It would work as a lute in g with reentrant tuning.

   2016-03-17 13:14 GMT-03:00 Edward Chrysogonus Yong
   <[1]edward.y...@gmail.com>:

 Hi Lutefolk!
 Just a thought - would a theorbo in G be useful for playing continuo
 in flat keys?
 Edward Yong
 
 II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2
 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
 HA| litterA| electronicA| ab iPhono missA| sunt.
 aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
 This e-mail was sent from my iPhone.
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo

   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas Interpretativas  pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

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

[LUTE] Re: Theorbo in G

2016-03-19 Thread Dan Winheld

English Theorbo. Single re-entrant 1st String/course down the 8ve. 
Thomas Mace, Wilson, etc. in "G". I think also some large French lutes? 
Some old article or other in one of the lute publications.


On 3/17/2016 9:14 AM, Edward Chrysogonus Yong wrote:

Hi Lutefolk!

Just a thought - would a theorbo in G be useful for playing continuo in flat 
keys?

Edward Yong



τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη.
Hæ litteræ electronicæ ab iPhono missæ sunt.
此電子郵件發送于自吾iPhone。
This e-mail was sent from my iPhone.



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

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Bruno Cognyl-Fournier

   Yes thx Arto, I know the tuning

   2016-01-15 12:12 GMT-05:00 Arto Wikla <[1]wi...@cs.dartmouth.edu>:

 And by the way, all the 6 open strings of an a theorbo, A-d-g-h-e-a,
 should be familiar to guitarists, too. Only the order is little
 different... ;-)
 Arto

   On 15/01/16 18:58, David van Ooijen wrote:

 Replacing the second string with a high octave   is what some
 continuo
 players do. I remember some 25 years ago having to replace one
 particular theorbo player for just one concert in a series. I
 received
 a cassette tape with a recording of one of the earlier concerts
 so I
 knew more or less what was expected of me. I worked hard to get
 all
 those high lines while still playing full bass and harmony. It
 turned
 out later that the guy had his 2nd string an octave up ... It
 did sound
 good.
 After that experience I did as well on occasion, but often found
 myself
 playing guitar in stead of theorbo. Another instrument.
 Re-entrant
 theorbo is fun, worth the trouble of learning.
 David
 ***
 David van Ooijen
 [1][2]davidvanooi...@gmail.com
 [2][3]www.davidvanooijen.nl
 ***
 On 15 January 2016 at 17:30, Bruno Cognyl-Fournier
 <[3][4]fournier...@gmail.com> wrote:
  Hi Ed
  The point is for some of us who came from a guitar
 background
   back in
  the 70's.
  I can play from music notation in E tuning, G tuning, and C
   tuning (
  oud ) but for the life of me I can't wrap my head around
 playing
   in A
  tuning and having to play the melody on the 3 rd string...
just
   a
  thought.. though,
  if anyone else has tried it, I am talking of course for
 Continuo
  regards
  Bruno
  2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
  <[1][4][5]edward.y...@gmail.com>:
Dear Bruno,
What would be the point of such a tuning? Some of us
 don't come
   from
a classical guitar background and this would be pointless
 to
   us, not
to mention making all the solo music unplayable - no
   campanellas
etc.
Edward Yong

II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I
 1/4IuI-I?I
   1/2
IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
HA| litterA| electronicA| ab iPhono missA| sunt.
aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
This e-mail was sent from my iPhone.
  > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
  <[2][5][6]fournier...@gmail.com> wrote:
  >
  >  Dear lutenetters,
  >  Has anyone ever experimented tuning a theorbo like a
 guitar
   with
  an E
  >  top string, no re-entrant tuning? to facilitate the
 player
   with
  reading
  >  a continuo part from music notation? this would
   essentially give
  the
  >  same tessitura as a regular theorbo and allow to
 play the
   melody
  on the
  >  top string instead of mucking around on the 3 rd
 string...
  >  what would be the top string gauge suggestion for a
 74 cm
   string
  >  length?
  >  Bruno
  >
  >  --
  >
  >
  > To get on or off this list see list information at
  >
 [3][6][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. mailto:[7][8]edward.y...@gmail.com
  2. mailto:[8][9]fournier...@gmail.com
  3.
 [9][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
 References
 1. mailto:[11]davidvanooi...@gmail.com
 2. [12]http://www.davidvanooijen.nl/
 3. mailto:[13]fournier...@gmail.com
 4. mailto:[14]edward.y...@gmail.com
 5. mailto:[15]fournier...@gmail.com
 6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 7. mailto:[17]edward.y...@gmail.com
 8. mailto:[18]fournier...@gmail.com
 9. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:wi...@cs.dartmouth.edu
   2. mailto:davidvanooi...@gmail.com
   3. http://www.davidvanooijen.nl/
   4. mailto:fournier...@gmail.com
   5. mailto:edward.y...@gmail.com
   6. mailto:fournier...@gmail.com
   7. http://ww

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Roland Hayes

Tune it to F# and it's an archlute at Roman pitch, sort of. r

-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of 
Geoff Gaherty
Sent: Friday, January 15, 2016 11:50 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: theorbo tuning experiment

On 2016-01-15 10:26 AM, Bruno Cognyl-Fournier wrote:
> Has anyone ever experimented tuning a theorbo like a guitar with an E
> top string, no re-entrant tuning? to facilitate the player with reading
> a continuo part from music notation?  this would essentially give the
> same tessitura as a regular theorbo and allow to play the melody on the
> top string instead of mucking around on the 3 rd string...
> what would be the top string gauge suggestion for a 74 cm string

Mid-East sells "baroque lutes" tuned this way:

http://www.mid-east.com/Strings/Roosebeck-Lutes/Roosebeck-5-9-Baroque-Lute

The scale length is 660mm, also similar to a guitar.  Clearly these are aimed 
at classical guitarists who want something that behaves somewhat like a guitar, 
rather than a lute.  For any lutenist who is not also a guitarist, this would 
be a nightmare to play.

Geoff

--
Geoff Gaherty
Foxmead Observatory
Coldwater, Ontario, Canada
http://www.gaherty.ca
http://starrynightskyevents.blogspot.com/



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

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Arto Wikla

And by the way, all the 6 open strings of an a theorbo, A-d-g-h-e-a, 
should be familiar to guitarists, too. Only the order is little 
different... ;-)

Arto

On 15/01/16 18:58, David van Ooijen wrote:

Replacing the second string with a high octave  is what some continuo
players do. I remember some 25 years ago having to replace one
particular theorbo player for just one concert in a series. I received
a cassette tape with a recording of one of the earlier concerts so I
knew more or less what was expected of me. I worked hard to get all
those high lines while still playing full bass and harmony. It turned
out later that the guy had his 2nd string an octave up ... It did sound
good.
After that experience I did as well on occasion, but often found myself
playing guitar in stead of theorbo. Another instrument. Re-entrant
theorbo is fun, worth the trouble of learning.
David

***
David van Ooijen
[1]davidvanooi...@gmail.com
[2]www.davidvanooijen.nl
***
On 15 January 2016 at 17:30, Bruno Cognyl-Fournier
<[3]fournier...@gmail.com> wrote:

 Hi Ed
 The point is for some of us who came from a guitar background
  back in
 the 70's.
 I can play from music notation in E tuning, G tuning, and C
  tuning (
 oud ) but for the life of me I can't wrap my head around playing
  in A
 tuning and having to play the melody on the 3 rd string...   just
  a
 thought.. though,
 if anyone else has tried it, I am talking of course for Continuo
 regards
 Bruno
 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
 <[1][4]edward.y...@gmail.com>:
   Dear Bruno,
   What would be the point of such a tuning? Some of us don't come
  from
   a classical guitar background and this would be pointless to
  us, not
   to mention making all the solo music unplayable - no
  campanellas
   etc.
   Edward Yong

   II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I
  1/2
   IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
   HA| litterA| electronicA| ab iPhono missA| sunt.
   aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
   This e-mail was sent from my iPhone.
 > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
 <[2][5]fournier...@gmail.com> wrote:
 >
 > Dear lutenetters,
 > Has anyone ever experimented tuning a theorbo like a guitar
  with
 an E
 > top string, no re-entrant tuning? to facilitate the player
  with
 reading
 > a continuo part from music notation?this would
  essentially give
 the
 > same tessitura as a regular theorbo and allow to play the
  melody
 on the
 > top string instead of mucking around on the 3 rd string...
 > what would be the top string gauge suggestion for a 74 cm
  string
 > length?
 > Bruno
 >
 > --
 >
 >
 > To get on or off this list see list information at
 > [3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
  References
 1. mailto:[7]edward.y...@gmail.com
 2. mailto:[8]fournier...@gmail.com
 3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--

References

1. mailto:davidvanooi...@gmail.com
2. http://www.davidvanooijen.nl/
3. mailto:fournier...@gmail.com
4. mailto:edward.y...@gmail.com
5. mailto:fournier...@gmail.com
6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:edward.y...@gmail.com
8. mailto:fournier...@gmail.com
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Bruno Cognyl-Fournier

   Hello all
   obviously many are not understanding the point of my question, and yes
   some of us did not learn the lute directly without coming from guitar
   originally., People of my generation in the 70's did not have the
   chance of starting directly on the lute back then.   In any case, its
   an experiment,... of course learning to read in that tuning is ideal,
   but when you already read in various tunings , it becomes a bit more of
   a challenge to re-adjust all the time.
   bruno

   2016-01-15 11:58 GMT-05:00 David van Ooijen
   <[1]davidvanooi...@gmail.com>:

Replacing the second string with a high octave   is what some
 continuo
players do. I remember some 25 years ago having to replace one
particular theorbo player for just one concert in a series. I
 received
a cassette tape with a recording of one of the earlier concerts
 so I
knew more or less what was expected of me. I worked hard to get
 all
those high lines while still playing full bass and harmony. It
 turned
out later that the guy had his 2nd string an octave up ... It did
 sound
good.
After that experience I did as well on occasion, but often found
 myself
playing guitar in stead of theorbo. Another instrument.
 Re-entrant
theorbo is fun, worth the trouble of learning.
David
***
David van Ooijen
[1][2]davidvanooi...@gmail.com
[2][3]www.davidvanooijen.nl
***
On 15 January 2016 at 17:30, Bruno Cognyl-Fournier
<[3][4]fournier...@gmail.com> wrote:
 Hi Ed
 The point is for some of us who came from a guitar
 background
  back in
 the 70's.
 I can play from music notation in E tuning, G tuning, and C
  tuning (
 oud ) but for the life of me I can't wrap my head around
 playing
  in A
 tuning and having to play the melody on the 3 rd string...
  just
  a
 thought.. though,
 if anyone else has tried it, I am talking of course for
 Continuo
 regards
 Bruno
 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
 <[1][4][5]edward.y...@gmail.com>:
   Dear Bruno,
   What would be the point of such a tuning? Some of us don't
 come
  from
   a classical guitar background and this would be pointless
 to
  us, not
   to mention making all the solo music unplayable - no
  campanellas
   etc.
   Edward Yong

   II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I
 1/4IuI-I?I
  1/2
   IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
   HA| litterA| electronicA| ab iPhono missA| sunt.
   aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
   This e-mail was sent from my iPhone.
 > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
 <[2][5][6]fournier...@gmail.com> wrote:
 >
 >  Dear lutenetters,
 >  Has anyone ever experimented tuning a theorbo like a
 guitar
  with
 an E
 >  top string, no re-entrant tuning? to facilitate the
 player
  with
 reading
 >  a continuo part from music notation? this would
  essentially give
 the
 >  same tessitura as a regular theorbo and allow to play
 the
  melody
 on the
 >  top string instead of mucking around on the 3 rd
 string...
 >  what would be the top string gauge suggestion for a
 74 cm
  string
 >  length?
 >  Bruno
 >
 >  --
 >
 >
 > To get on or off this list see list information at
 >
 [3][6][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
  References
 1. mailto:[7][8]edward.y...@gmail.com
 2. mailto:[8][9]fournier...@gmail.com
 3.
 [9][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[11]davidvanooi...@gmail.com
2. [12]http://www.davidvanooijen.nl/
3. mailto:[13]fournier...@gmail.com
4. mailto:[14]edward.y...@gmail.com
5. mailto:[15]fournier...@gmail.com
6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. mailto:[17]edward.y...@gmail.com
8. mailto:[18]fournier...@gmail.com
9. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. mailto:davidvanooi...@gmail.com

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread David van Ooijen

   Replacing the second string with a high octave  is what some continuo
   players do. I remember some 25 years ago having to replace one
   particular theorbo player for just one concert in a series. I received
   a cassette tape with a recording of one of the earlier concerts so I
   knew more or less what was expected of me. I worked hard to get all
   those high lines while still playing full bass and harmony. It turned
   out later that the guy had his 2nd string an octave up ... It did sound
   good.
   After that experience I did as well on occasion, but often found myself
   playing guitar in stead of theorbo. Another instrument. Re-entrant
   theorbo is fun, worth the trouble of learning.
   David

   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***
   On 15 January 2016 at 17:30, Bruno Cognyl-Fournier
   <[3]fournier...@gmail.com> wrote:

Hi Ed
The point is for some of us who came from a guitar background
 back in
the 70's.
I can play from music notation in E tuning, G tuning, and C
 tuning (
oud ) but for the life of me I can't wrap my head around playing
 in A
tuning and having to play the melody on the 3 rd string...   just
 a
thought.. though,
if anyone else has tried it, I am talking of course for Continuo
regards
Bruno
2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
<[1][4]edward.y...@gmail.com>:
  Dear Bruno,
  What would be the point of such a tuning? Some of us don't come
 from
  a classical guitar background and this would be pointless to
 us, not
  to mention making all the solo music unplayable - no
 campanellas
  etc.
  Edward Yong

  II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I
 1/2
  IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
  HA| litterA| electronicA| ab iPhono missA| sunt.
  aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
  This e-mail was sent from my iPhone.
> On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
<[2][5]fournier...@gmail.com> wrote:
>
> Dear lutenetters,
> Has anyone ever experimented tuning a theorbo like a guitar
 with
an E
> top string, no re-entrant tuning? to facilitate the player
 with
reading
> a continuo part from music notation?this would
 essentially give
the
> same tessitura as a regular theorbo and allow to play the
 melody
on the
> top string instead of mucking around on the 3 rd string...
> what would be the top string gauge suggestion for a 74 cm
 string
> length?
> Bruno
>
> --
>
>
> To get on or off this list see list information at
> [3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[7]edward.y...@gmail.com
2. mailto:[8]fournier...@gmail.com
3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:fournier...@gmail.com
   4. mailto:edward.y...@gmail.com
   5. mailto:fournier...@gmail.com
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:edward.y...@gmail.com
   8. mailto:fournier...@gmail.com
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Geoff Gaherty


On 2016-01-15 10:26 AM, Bruno Cognyl-Fournier wrote:

Has anyone ever experimented tuning a theorbo like a guitar with an E
top string, no re-entrant tuning? to facilitate the player with reading
a continuo part from music notation?  this would essentially give the
same tessitura as a regular theorbo and allow to play the melody on the
top string instead of mucking around on the 3 rd string...
what would be the top string gauge suggestion for a 74 cm string


Mid-East sells "baroque lutes" tuned this way:

http://www.mid-east.com/Strings/Roosebeck-Lutes/Roosebeck-5-9-Baroque-Lute

The scale length is 660mm, also similar to a guitar.  Clearly these are 
aimed at classical guitarists who want something that behaves somewhat 
like a guitar, rather than a lute.  For any lutenist who is not also a 
guitarist, this would be a nightmare to play.


Geoff

--
Geoff Gaherty
Foxmead Observatory
Coldwater, Ontario, Canada
http://www.gaherty.ca
http://starrynightskyevents.blogspot.com/



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

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Bruno Cognyl-Fournier

--089e015389920cb87b052962271f
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

Hi Ed,

I did say in my initial post, in order to facilitate Continuo playing, and
yes coming from a guitar background.. where reading from notation is ok for
me in E and in G, also in C. but not in A or with re-entrant tuning..
Campanella is a nice effect but not a must in continuo..

anyone else ? What do you think Ed Martin?

-- 

Bruno Cognyl-Fournier

[image: Images intÃ©grÃ©es 1]

2016-01-15 11:30 GMT-05:00 Bruno Cognyl-Fournier :

>Hi Ed
>The point is for some of us who came from a guitar background back in
>the 70's.
>I can play from music notation in E tuning, G tuning, and C tuning (
>oud ) but for the life of me I can't wrap my head around playing in A
>tuning and having to play the melody on the 3 rd string...  just a
>thought.. though,
>if anyone else has tried it, I am talking of course for Continuo
>regards
>Bruno
>
>2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
><[1]edward.y...@gmail.com>:
>
>  Dear Bruno,
>  What would be the point of such a tuning? Some of us don't come from
>  a classical guitar background and this would be pointless to us, not
>  to mention making all the solo music unplayable - no campanellas
>  etc.
>  Edward Yong
>  
>  II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2
>  IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
>  HA| litterA| electronicA| ab iPhono missA| sunt.
>  aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
>  This e-mail was sent from my iPhone.
>
>> On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
><[2]fournier...@gmail.com> wrote:
>>
>>Dear lutenetters,
>>Has anyone ever experimented tuning a theorbo like a guitar with
>an E
>>top string, no re-entrant tuning? to facilitate the player with
>reading
>>a continuo part from music notation?   this would essentially give
>the
>>same tessitura as a regular theorbo and allow to play the melody
>on the
>>top string instead of mucking around on the 3 rd string...
>>what would be the top string gauge suggestion for a 74 cm string
>>length?
>>Bruno
>>
>>--
>>
>>
>> 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:edward.y...@gmail.com
>2. mailto:fournier...@gmail.com
>3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>

--089e015389920cb87b052962271f
Content-Type: text/html; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

Hi Ed,I did say in my initial post, in order 
to facilitate Continuo playing, and yes coming from a guitar background.. where 
reading from notation is ok for me in E and in G, also in C. but not in A or 
with re-entrant tuning.. Campanella is a nice effect but not a must in 
continuo..anyone else ? What do you 
think Ed Martin?-- 
Â 
Bruno Cognyl-Fournier
Â 
Â 
Â 

2016-01-15 
11:30 GMT-05:00 Bruno Cognyl-Fournier fournier...@gmail.com>:Â  Â Hi Ed
Â  Â The point is for some of us who came from a guitar background back in
Â  Â the 70's.
Â  Â I can play from music notation in E tuning, G tuning, and C tuning (
Â  Â oud ) but for the life of me I can't wrap my head around playing in 
A
Â  Â tuning and having to play the melody on the 3 rd string...Â  just a
Â  Â thought.. though,
Â  Â if anyone else has tried it, I am talking of course for Continuo
Â  Â regards
Â  Â Bruno

Â  Â 2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
Â  Â <[1]mailto:edward.y...@gmail.com";>edward.y...@gmail.com>:

Â  Â  Â Dear Bruno,
Â  Â  Â What would be the point of such a tuning? Some of us don't come 
from
Â  Â  Â a classical guitar background and this would be pointless to us, not
Â  Â  Â to mention making all the solo music unplayable - no campanellas
Â  Â  Â etc.
Â  Â  Â Edward Yong
Â  Â  Â 
Â  Â  Â II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 
1/4IuI-I?I 1/2
Â  Â  Â IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
Â  Â  Â HA| litterA| electronicA| ab iPhono missA| sunt.
Â  Â  Â aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
Â  Â  Â This e-mail was sent from my iPhone.

Â  Â > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
Â  Â <[2]mailto:fournier...@gmail.com";>fournier...@gmail.com> wrote:
Â  Â >
Â  Â >Â  Â  Dear lutenetters,
Â  Â >Â  Â  Has anyone ever experimented tuning a theorbo like a guitar 
with
Â  Â an E
Â  Â >Â  Â  top string, no re-entrant tuning? to facilitate the player 
with
Â  Â reading
Â  Â >Â  Â  a continuo part from music notation?Â  Â this would essentially 
give
Â  Â the
Â  Â >Â  Â  same tessitura as a regular theorbo and allow to play the 
melody
Â  Â on the
Â  Â >Â  Â  top string instead of mucking around on the 3 rd strin

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Bruno Cognyl-Fournier

   Hi Ed
   The point is for some of us who came from a guitar background back in
   the 70's.
   I can play from music notation in E tuning, G tuning, and C tuning (
   oud ) but for the life of me I can't wrap my head around playing in A
   tuning and having to play the melody on the 3 rd string...  just a
   thought.. though,
   if anyone else has tried it, I am talking of course for Continuo
   regards
   Bruno

   2016-01-15 11:21 GMT-05:00 Edward Chrysogonus Yong
   <[1]edward.y...@gmail.com>:

 Dear Bruno,
 What would be the point of such a tuning? Some of us don't come from
 a classical guitar background and this would be pointless to us, not
 to mention making all the solo music unplayable - no campanellas
 etc.
 Edward Yong

 II?III? I.I>>IuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I 1/4IuI-I?I 1/2
 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
 HA| litterA| electronicA| ab iPhono missA| sunt.
 aeCURe>>aaeuae>>P:c, 1/4eae-oe-aaa 3/4iPhonea
 This e-mail was sent from my iPhone.

   > On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier
   <[2]fournier...@gmail.com> wrote:
   >
   >Dear lutenetters,
   >Has anyone ever experimented tuning a theorbo like a guitar with
   an E
   >top string, no re-entrant tuning? to facilitate the player with
   reading
   >a continuo part from music notation?   this would essentially give
   the
   >same tessitura as a regular theorbo and allow to play the melody
   on the
   >top string instead of mucking around on the 3 rd string...
   >what would be the top string gauge suggestion for a 74 cm string
   >length?
   >Bruno
   >
   >--
   >
   >
   > 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:edward.y...@gmail.com
   2. mailto:fournier...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo tuning experiment

2016-01-15 Thread Edward Chrysogonus Yong

Dear Bruno,

What would be the point of such a tuning? Some of us don't come from a 
classical guitar background and this would be pointless to us, not to mention 
making all the solo music unplayable - no campanellas etc.

Edward Yong

τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη.
Hæ litteræ electronicæ ab iPhono missæ sunt.
此電子郵件發送于自吾iPhone。
This e-mail was sent from my iPhone.

> On 15 Jan 2016, at 11:26 PM, Bruno Cognyl-Fournier  
> wrote:
> 
>   Dear lutenetters,
>   Has anyone ever experimented tuning a theorbo like a guitar with an E
>   top string, no re-entrant tuning? to facilitate the player with reading
>   a continuo part from music notation?  this would essentially give the
>   same tessitura as a regular theorbo and allow to play the melody on the
>   top string instead of mucking around on the 3 rd string...
>   what would be the top string gauge suggestion for a 74 cm string
>   length?
>   Bruno
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Bruno Figueiredo

   I'm sorry Anthony, I replied to Bill instea= d of you. So, Seicento
   must be a publisher, I'll check it out. Thanks.<= /div>
   2015-0= 6-16 15:12 GMT-03:00 Anthony Hart
   <[1]anthony.hart1...@gmail.com= >:

 I was dissociated in the Tor= elli Tutor. It does have a few
 exercises but as for actual pieces it is a b= it lacking. For pieces
 I found the two volumes of a Easy Theorbo pieces pub= lished by
 Seicento useful. These are not actual theorbo works but lute and  
baroque guitar transcriptions. Quite nice pieces and playable as a
 beginner= .

   On Tuesday, June 16, 2015= , Bill <[2]wfeisele@m= sn.com> wrote:

 Â  Â Dear B= runo,
 Â  Â Although I do not play the theorbo, I am aware of a
 theorbo tu= tor by
 Â  Â Francesca Torelli, aptly named "A Tutor for the
 Theorbo.&= quot;Â  It is
 Â  Â published by Ut Orpheus Edizioni:
 Â  Â [1][3]http://www.utorpheus.com/product_info 
.php?cPath5&products_id50.Â  It
 Â  Â is available in English and Italian.Â  From what I
 can tel= l, it contains
 Â  Â basic exercises and musical pieces.Â  Hope this
 helps.
 Â  Â Best regards,
 Â  Â Bill Eisele
 Â  Â > Date: Tue, 16 Jun 2015 11:21:33 -0300
 Â  Â > To: lute@cs.dartmouth.edu
 Â  Â > From: bruno.l...@gmail.com
 Â  Â > Subject: [LUTE] Theorbo pieces
 Â  Â >
 Â  Â > Dear lute folks, can anyone point out any publication
 on = the market
 Â  Â > afor those who are starting on the theorboa? I mean
 simpl= e and
 Â  Â > progressive pieces for those with no experience at
 all. E= verything I
 Â  Â > have is for intermediate and advanced players
 (Kapsperger= , Piccinini,
 Â  Â > Hurel, Pitoni, VisA(c)e, etc...). I never bothered
 about = this until
 Â  Â > some students started to come in.
 Â  Â > --
 Â  Â > Bruno Figueiredo
 Â  Â > A
 Â  Â > Pesquisador autA'nomo da prA!tica e
 interpretaAS:A-L-= o
 Â  Â > historicamente informada no alaA-ode e teorba.
 Â  Â > Doutor em PrA!ticas InterpretativasA pela
 Â  Â > Universidade Federal do Estado do Rio de Janeiro.
 Â  Â >
 Â  Â > --
 Â  Â >
 Â  Â >
 Â  Â > To get on or off this list see list information at
 Â  Â > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/ind ex.html
 Â  Â --
 References
 Â  Â 1. [5]http://www.utorpheus.com/product_info 
.php?cPath5&products_id50

 --

   ___= ___
   Antho= ny HartÂ MSc, LLCM,ALCM.Â 
  Musico= logistÂ andÂ IndependentÂ Researcher
   Highrise Court 'B', Apt= 2, Tigne' Street, Sliema, SLM3174, MALTA

   Tel: [6]+356 27014791; Mob: [7]+356 9944 95= 52.

   e-mail:Â [8]research@antonino= reggio.com;
   web:Â [9]www.monsignor-reggio.com

   NEWÂ Publications:Â EDIZIONEÂ ANTONINOÂ REGGIO

   -Â [10]www.edizionear.com

   fo= r information and special offer

   --

   Bruno Figuei= redo
   Â 
   Pesquisador autÃ´= nomo da prÃ¡tica e interpretaÃ§Ã£o
   historica= mente informada no alaÃºde e teorba.
   Doutor em PrÃ= ¡ticas InterpretativasÂ pela
   Universidade= Federal do Estado do Rio de Janeiro.

   --

References

   1. 3D"mailto:a   2. 3D"mailto:wfeis...@msn.com";
   3. 3D"http://www.utorpheus.com/product_info.php?cPath5   4. 
3D"http://www.cs.dartmouth.edu/~wbc/lute-admin/in   5. 
3D"http://www.utorpheus.com/product_info.php?cPath5   6. 
3D"tel:%2B356%2027014791"
   7. 3D"tel:   8. ="mailto:resea...@antoninoreggio.com";
   9. 3D"http://www.monsignor-reggio.com/";
  10. ="http://www.edizionear.com/";

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Bruno Figueiredo

   Hi Bill,
   I'm aware of Torelli's tutor, however as you pointed out it lacksactual 
pieces, and that's what I need. You mentioned seicento, is it a
   = publisher?
   Thanks.

   2015-06-16 14:18 GMT-03:0= 0 Bill <[1]wfeis...@msn.com>:

   Dear Bruno,
   Although I do not play= the theorbo, I am aware of a theorbo tutor by
   Francesca Torelli, aptly nam= ed "A Tutor for the Theorbo." Â It is
   published by Ut Orpheus= Edizioni: Â [2]http://www.utorpheus.com/p   
roduct_info.php?cPath=925&products_id=1550.Â  It is availab= le
   in English and Italian.Â  From what I can tell, it contains basic
   ex= ercises and musical pieces.Â  Hope this helps.
   Best regards,
   Bill Eisele
   > Date: Tue, 16 Jun 2015 11:21:33 -0300
   > To: [3]lute@cs.dartmouth.edu
   > From: [4]= bruno.l...@gmail.com
   > Subject: [LUTE] Theorbo pieces
   >
   > Dear lute folks, can anyone point out any p= ublication on the market
   > afor those who are starting on the theo= rboa? I mean simple and
   > progressive pieces for those with no exp= erience at all. Everything
   I
   > have is for intermediate and advanc= ed players (Kapsperger,
   Piccinini,
   > Hurel, Pitoni, VisA(c)e, etc.= ..). I never bothered about this until
   > some students started to = come in.
   > --
   > Bruno Figueiredo
   > A
   > = Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   > histo= ricamente informada no alaA-ode e teorba.
   > Doutor em PrA!ticas In= terpretativasA pela
   > Universidade Federal do Estado do Rio de Jan= eiro.
   >
   > --
   >
   >
   > To get on or off thi= s list see list information at
   > [5]http://www.cs.dartmouth.ed= u/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   Â 
   Pesquisador autÃ´nomo da pr= Ã¡tica e interpretaÃ§Ã£o
   historicamente info= rmada no alaÃºde e teorba.
   Doutor em PrÃ¡ticas I= nterpretativasÂ pela
   Universidade Federal d= o Estado do Rio de Janeiro.

   --

References

   1. 3D"mailto:wfeis...@msn.com";
   2. 3D"http://www.utorpheus.com/product_info.php?cPath   3. 
="mailto:lute@cs.dartmouth.edu";
   4. 3D"mailto:bruno.l...@gmail.com";
   5. 3D"http://www.cs.dartmouth.e=/


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

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Anthony Hart

   [1]www.seicentomusic.de
   On Tuesday, June 16, 2015, Bill <[2]wfeis...@msn.com> wrote:

 A  A Thanks for the additional information and correction, Anthony!
 A  A Bill
 A  A
 A __
 A  A Date: Tue, 16 Jun 2015 20:12:39 +0200
 A  A Subject: Re: [LUTE] Theorbo pieces
 A  A From: [3]anthony.hart1...@gmail.com
 A  A To: [4]wfeis...@msn.com
 A  A CC: [5]bruno.l...@gmail.com; [6]lute@cs.dartmouth.edu
 A  A I was dissociated in the Torelli Tutor. It does have a few
 exercises
 A  A but as for actual pieces it is a bit lacking. For pieces I
 found the
 A  A two volumes of a Easy Theorbo pieces published by Seicento
 useful.
 A  A These are not actual theorbo works but lute and baroque guitar
 A  A transcriptions. Quite nice pieces and playable as a beginner.
 A  A On Tuesday, June 16, 2015, Bill <[1][7]wfeis...@msn.com> wrote:
 A  A  A  A  Dear Bruno,
 A  A  A  A  Although I do not play the theorbo, I am aware of a
 theorbo tutor
 A  A  A by
 A  A  A  A  Francesca Torelli, aptly named "A Tutor for the
 Theorbo."A  It is
 A  A  A  A  published by Ut Orpheus Edizioni:
 A  A
 A [1][2][8]http://www.utorpheus.com/product_info.php?cPath5&products
 _id50
 A  A  A .A  It
 A  A  A  A  is available in English and Italian.A  From what I can
 tell, it
 A  A  A contains
 A  A  A  A  basic exercises and musical pieces.A  Hope this helps.
 A  A  A  A  Best regards,
 A  A  A  A  Bill Eisele
 A  A  A  A  > Date: Tue, 16 Jun 2015 11:21:33 -0300
 A  A  A  A  > To: [9]lute@cs.dartmouth.edu
 A  A  A  A  > From: [10]bruno.l...@gmail.com
 A  A  A  A  > Subject: [LUTE] Theorbo pieces
 A  A  A  A  >
 A  A  A  A  > Dear lute folks, can anyone point out any publication
 on the
 A  A  A market
 A  A  A  A  > afor those who are starting on the theorboa? I mean
 simple and
 A  A  A  A  > progressive pieces for those with no experience at
 all.
 A  A  A Everything I
 A  A  A  A  > have is for intermediate and advanced players
 (Kapsperger,
 A  A  A Piccinini,
 A  A  A  A  > Hurel, Pitoni, VisA(c)e, etc...). I never bothered
 about this
 A  A  A until
 A  A  A  A  > some students started to come in.
 A  A  A  A  > --
 A  A  A  A  > Bruno Figueiredo
 A  A  A  A  > A
 A  A  A  A  > Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 A  A  A  A  > historicamente informada no alaA-ode e teorba.
 A  A  A  A  > Doutor em PrA!ticas InterpretativasA pela
 A  A  A  A  > Universidade Federal do Estado do Rio de Janeiro.
 A  A  A  A  >
 A  A  A  A  > --
 A  A  A  A  >
 A  A  A  A  >
 A  A  A  A  > To get on or off this list see list information at
 A  A  A  A  >
 [3][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A  A  A  --
 A  A  A References
 A  A  A  A  1.
 A  A
 A [4][12]http://www.utorpheus.com/product_info.php?cPath5&products_i
 d50
 A  A --
 A
 A __
 A  A Anthony Hart MSc, LLCM,ALCM.
 A  A Musicologist and Independent Researcher
 A  A Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174,
 MALTA
 A  A Tel: +356 27014791; Mob: +356 9944 9552.
 A  A e-mail: [5][13]resea...@antoninoreggio.com;
 A  A web: [6][14]www.monsignor-reggio.com
 A  A NEW Publications: EDIZIONE ANTONINO REGGIO
 A  A - [7][15]www.edizionear.com
 A  A for information and special offer
 A  A --
 References
 A  A 1. mailto:[16]wfeis...@msn.com
 A  A 2.
 [17]http://www.utorpheus.com/product_info.php?cPath5&products_id50
 A  A 3. [18]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A 4.
 [19]http://www.utorpheus.com/product_info.php?cPath5&products_id50
 A  A 5. mailto:[20]resea...@antoninoreggio.com
 A  A 6. [21]http://www.monsignor-reggio.com/
 A  A 7. [22]http://www.edizionear.com/

   --

   __
   Anthony HartA MSc, LLCM,ALCM.A
   MusicologistA andA IndependentA Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Tel: +356 27014791; Mob: +356 9944 9552.
   e-mail:A [23]resea...@antoninoreggio.com;
   web:A [24]www.monsignor-reggio.com
   NEWA Publications:A EDIZIONEA ANTONINOA REGGIO
   -A [25]www.edizionear.com
   for information and special offer

   --

References

   1. http://www.seicentomusic.de/
   2. mailto:wfeis...@msn.com
   3. javascript:;
   4. javascript:;
   5. javascript:;
   6. javascript:;
   7. javascript:;
   8. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   9. javascript:;
  10. javascript:;
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  12. http://www.utorpheus.com/product_info.php?c

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Bill

   Thanks for the additional information and correction, Anthony!
   Bill
 __

   Date: Tue, 16 Jun 2015 20:12:39 +0200
   Subject: Re: [LUTE] Theorbo pieces
   From: anthony.hart1...@gmail.com
   To: wfeis...@msn.com
   CC: bruno.l...@gmail.com; lute@cs.dartmouth.edu
   I was dissociated in the Torelli Tutor. It does have a few exercises
   but as for actual pieces it is a bit lacking. For pieces I found the
   two volumes of a Easy Theorbo pieces published by Seicento useful.
   These are not actual theorbo works but lute and baroque guitar
   transcriptions. Quite nice pieces and playable as a beginner.
   On Tuesday, June 16, 2015, Bill <[1]wfeis...@msn.com> wrote:

Dear Bruno,
Although I do not play the theorbo, I am aware of a theorbo tutor
 by
Francesca Torelli, aptly named "A Tutor for the Theorbo."  It is
published by Ut Orpheus Edizioni:

 [1][2]http://www.utorpheus.com/product_info.php?cPath5&products_id50
 .  It
is available in English and Italian.  From what I can tell, it
 contains
basic exercises and musical pieces.  Hope this helps.
Best regards,
Bill Eisele
> Date: Tue, 16 Jun 2015 11:21:33 -0300
> To: lute@cs.dartmouth.edu
> From: bruno.l...@gmail.com
> Subject: [LUTE] Theorbo pieces
>
> Dear lute folks, can anyone point out any publication on the
 market
> afor those who are starting on the theorboa? I mean simple and
> progressive pieces for those with no experience at all.
 Everything I
> have is for intermediate and advanced players (Kapsperger,
 Piccinini,
> Hurel, Pitoni, VisA(c)e, etc...). I never bothered about this
 until
> some students started to come in.
> --
> Bruno Figueiredo
> A
> Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
> historicamente informada no alaA-ode e teorba.
> Doutor em PrA!ticas InterpretativasA pela
> Universidade Federal do Estado do Rio de Janeiro.
>
> --
>
>
> To get on or off this list see list information at
> [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1.
 [4]http://www.utorpheus.com/product_info.php?cPath5&products_id50

   --
   __
   Anthony Hart MSc, LLCM,ALCM.
   Musicologist and Independent Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Tel: +356 27014791; Mob: +356 9944 9552.
   e-mail: [5]resea...@antoninoreggio.com;
   web: [6]www.monsignor-reggio.com
   NEW Publications: EDIZIONE ANTONINO REGGIO
   - [7]www.edizionear.com
   for information and special offer

   --

References

   1. mailto:wfeis...@msn.com
   2. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   5. mailto:resea...@antoninoreggio.com
   6. http://www.monsignor-reggio.com/
   7. http://www.edizionear.com/

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Anthony Hart

   Whoops I meant dissapointedA
   On Tuesday, June 16, 2015, Bill <[1]wfeis...@msn.com> wrote:

 A  A Dear Bruno,
 A  A Although I do not play the theorbo, I am aware of a theorbo
 tutor by
 A  A Francesca Torelli, aptly named "A Tutor for the Theorbo."A  It
 is
 A  A published by Ut Orpheus Edizioni:
 A
 A [1][2]http://www.utorpheus.com/product_info.php?cPath5&products_id
 50.A  It
 A  A is available in English and Italian.A  From what I can tell, it
 contains
 A  A basic exercises and musical pieces.A  Hope this helps.
 A  A Best regards,
 A  A Bill Eisele
 A  A > Date: Tue, 16 Jun 2015 11:21:33 -0300
 A  A > To: [3]lute@cs.dartmouth.edu
 A  A > From: [4]bruno.l...@gmail.com
 A  A > Subject: [LUTE] Theorbo pieces
 A  A >
 A  A > Dear lute folks, can anyone point out any publication on the
 market
 A  A > afor those who are starting on the theorboa? I mean simple
 and
 A  A > progressive pieces for those with no experience at all.
 Everything I
 A  A > have is for intermediate and advanced players (Kapsperger,
 Piccinini,
 A  A > Hurel, Pitoni, VisA(c)e, etc...). I never bothered about this
 until
 A  A > some students started to come in.
 A  A > --
 A  A > Bruno Figueiredo
 A  A > A
 A  A > Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 A  A > historicamente informada no alaA-ode e teorba.
 A  A > Doutor em PrA!ticas InterpretativasA pela
 A  A > Universidade Federal do Estado do Rio de Janeiro.
 A  A >
 A  A > --
 A  A >
 A  A >
 A  A > To get on or off this list see list information at
 A  A > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A --
 References
 A  A 1.
 [6]http://www.utorpheus.com/product_info.php?cPath5&products_id50

   --

   __
   Anthony HartA MSc, LLCM,ALCM.A
   MusicologistA andA IndependentA Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Tel: +356 27014791; Mob: +356 9944 9552.
   e-mail:A [7]resea...@antoninoreggio.com;
   web:A [8]www.monsignor-reggio.com
   NEWA Publications:A EDIZIONEA ANTONINOA REGGIO
   -A [9]www.edizionear.com
   for information and special offer

   --

References

   1. mailto:wfeis...@msn.com
   2. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   3. javascript:;
   4. javascript:;
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   7. mailto:resea...@antoninoreggio.com
   8. http://www.monsignor-reggio.com/
   9. http://www.edizionear.com/

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Anthony Hart

   I was dissociated in the Torelli Tutor. It does have a few exercises
   but as for actual pieces it is a bit lacking. For pieces I found the
   two volumes of a Easy Theorbo pieces published by Seicento useful.
   These are not actual theorbo works but lute and baroque guitar
   transcriptions. Quite nice pieces and playable as a beginner.

   On Tuesday, June 16, 2015, Bill <[1]wfeis...@msn.com> wrote:

 A  A Dear Bruno,
 A  A Although I do not play the theorbo, I am aware of a theorbo
 tutor by
 A  A Francesca Torelli, aptly named "A Tutor for the Theorbo."A  It
 is
 A  A published by Ut Orpheus Edizioni:
 A
 A [1][2]http://www.utorpheus.com/product_info.php?cPath5&products_id
 50.A  It
 A  A is available in English and Italian.A  From what I can tell, it
 contains
 A  A basic exercises and musical pieces.A  Hope this helps.
 A  A Best regards,
 A  A Bill Eisele
 A  A > Date: Tue, 16 Jun 2015 11:21:33 -0300
 A  A > To: [3]lute@cs.dartmouth.edu
 A  A > From: [4]bruno.l...@gmail.com
 A  A > Subject: [LUTE] Theorbo pieces
 A  A >
 A  A > Dear lute folks, can anyone point out any publication on the
 market
 A  A > afor those who are starting on the theorboa? I mean simple
 and
 A  A > progressive pieces for those with no experience at all.
 Everything I
 A  A > have is for intermediate and advanced players (Kapsperger,
 Piccinini,
 A  A > Hurel, Pitoni, VisA(c)e, etc...). I never bothered about this
 until
 A  A > some students started to come in.
 A  A > --
 A  A > Bruno Figueiredo
 A  A > A
 A  A > Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
 A  A > historicamente informada no alaA-ode e teorba.
 A  A > Doutor em PrA!ticas InterpretativasA pela
 A  A > Universidade Federal do Estado do Rio de Janeiro.
 A  A >
 A  A > --
 A  A >
 A  A >
 A  A > To get on or off this list see list information at
 A  A > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 A  A --
 References
 A  A 1.
 [6]http://www.utorpheus.com/product_info.php?cPath5&products_id50

   --

   __
   Anthony HartA MSc, LLCM,ALCM.A
   MusicologistA andA IndependentA Researcher
   Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
   Tel: +356 27014791; Mob: +356 9944 9552.
   e-mail:A [7]resea...@antoninoreggio.com;
   web:A [8]www.monsignor-reggio.com
   NEWA Publications:A EDIZIONEA ANTONINOA REGGIO
   -A [9]www.edizionear.com
   for information and special offer

   --

References

   1. mailto:wfeis...@msn.com
   2. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   3. javascript:;
   4. javascript:;
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://www.utorpheus.com/product_info.php?cPath5&products_id50
   7. mailto:resea...@antoninoreggio.com
   8. http://www.monsignor-reggio.com/
   9. http://www.edizionear.com/

[LUTE] Re: Theorbo pieces

2015-06-16 Thread Bill

   Dear Bruno,
   Although I do not play the theorbo, I am aware of a theorbo tutor by
   Francesca Torelli, aptly named "A Tutor for the Theorbo."  It is
   published by Ut Orpheus Edizioni:
   [1]http://www.utorpheus.com/product_info.php?cPath5&products_id50.  It
   is available in English and Italian.  From what I can tell, it contains
   basic exercises and musical pieces.  Hope this helps.
   Best regards,
   Bill Eisele
   > Date: Tue, 16 Jun 2015 11:21:33 -0300
   > To: lute@cs.dartmouth.edu
   > From: bruno.l...@gmail.com
   > Subject: [LUTE] Theorbo pieces
   >
   > Dear lute folks, can anyone point out any publication on the market
   > afor those who are starting on the theorboa? I mean simple and
   > progressive pieces for those with no experience at all. Everything I
   > have is for intermediate and advanced players (Kapsperger, Piccinini,
   > Hurel, Pitoni, VisA(c)e, etc...). I never bothered about this until
   > some students started to come in.
   > --
   > Bruno Figueiredo
   > A
   > Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   > historicamente informada no alaA-ode e teorba.
   > Doutor em PrA!ticas InterpretativasA pela
   > Universidade Federal do Estado do Rio de Janeiro.
   >
   > --
   >
   >
   > To get on or off this list see list information at
   > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.utorpheus.com/product_info.php?cPath5&products_id50

[LUTE] Re: theorbo time line

2015-04-02 Thread Ed Durbrow

Good find!

On Apr 1, 2015, at 4:13 AM, Alain  wrote:

> I think this is cool: http://www.tiorba.eu/timeline.html - Nice time line and 
> documents about the theorbo. I just chanced on it, and in case this is not 
> common knowledge I thought I would share the link.

Ed Durbrow
Saitama, Japan
http://www.youtube.com/user/edurbrow?feature=watch
https://soundcloud.com/ed-durbrow
http://www9.plala.or.jp/edurbrow/





--

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

[LUTE] Re: theorbo time line

2015-03-31 Thread Bruno Figueiredo

   Thanks Alain, it's a very good link.
   Regards.

   2015-03-31 16:13 GMT-03:00 Alain <[1]al...@musickshandmade.com>:

 I think this is cool: [2]http://www.tiorba.eu/timeline.html - Nice
 time line and documents about the theorbo. I just chanced on it, and
 in case this is not common knowledge I thought I would share the
 link.
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Bruno Figueiredo
   A
   Pesquisador autA'nomo da prA!tica e interpretaAS:A-L-o
   historicamente informada no alaA-ode e teorba.
   Doutor em PrA!ticas InterpretativasA pela
   Universidade Federal do Estado do Rio de Janeiro.

   --

References

   1. mailto:al...@musickshandmade.com
   2. http://www.tiorba.eu/timeline.html
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo time line

2015-03-31 Thread Alain

I think this is cool: http://www.tiorba.eu/timeline.html - Nice time 
line and documents about the theorbo. I just chanced on it, and in case 
this is not common knowledge I thought I would share the link.





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

[LUTE] Re: theorbo on airplane

2014-06-19 Thread David van Ooijen

   In the Dutch news last week: a cat had been 'lost' in transit. It was
   refused as handluggage, put in a basket, whatever, and checked in to be
   put int the warm and pressurised part of the the hold. On arrival there
   was no cat. I've had some bad experiences with luggage on planes, but
   never this sad a story.
   David

   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***
   On 19 June 2014 16:21, Christopher Wilke <[3]chriswi...@yahoo.com>
   wrote:

 
 On Wed, 6/18/14, John Lenti <[4]johnle...@hotmail.com> wrote:
 A "So that's just four
 A incidents in maybe 120 flights."
 "Just" four incidents!? That's pathetic. Who would feel like getting
 on an airplane at all if passengers faced the same odds of coming
 out the other end unharmed? What kind of review would be written
 about a concert in which the ensemble couldn't even make it through
 the same percentage of pieces?
 Folks, we need to stop buying the airlines' schtick that delivering
 goods intact is some kind of incredible courtesy. They are in the
 transportation business and are PAID to transport people and goods
 safely and effectively. Most stories, (like John's of instruments
 being dropped from great heights or run over by trucks) tell of
 either gross incompetence, willful negligence or outright
 malevolence on the part of handlers. That should happen basically 0%
 of the time.
 I think the only reasonable solution is to enact a new policy:
 whenever a damage report is filed, the entire baggage crew
 responsible must get into locked coffins, be loaded/unloaded on the
 next outgoing plane by their fellow baggage teams and make the
 flight in the unpressurized cargo hold. If they survive, damages
 will go way down in the future.
 Chris
 Dr. Christopher Wilke D.M.A.
 Lutenist, Guitarist and Composer
 [5]www.christopherwilke.com

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:chriswi...@yahoo.com
   4. mailto:johnle...@hotmail.com
   5. http://www.christopherwilke.com/


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

[LUTE] Re: theorbo on airplane

2014-06-19 Thread Christopher Wilke



On Wed, 6/18/14, John Lenti  wrote:
 
 "So that's just four
 incidents in maybe 120 flights."

"Just" four incidents!? That's pathetic. Who would feel like getting on an 
airplane at all if passengers faced the same odds of coming out the other end 
unharmed? What kind of review would be written about a concert in which the 
ensemble couldn't even make it through the same percentage of pieces?

Folks, we need to stop buying the airlines' schtick that delivering goods 
intact is some kind of incredible courtesy. They are in the transportation 
business and are PAID to transport people and goods safely and effectively. 
Most stories, (like John's of instruments being dropped from great heights or 
run over by trucks) tell of either gross incompetence, willful negligence or 
outright malevolence on the part of handlers. That should happen basically 0% 
of the time.

I think the only reasonable solution is to enact a new policy: whenever a 
damage report is filed, the entire baggage crew responsible must get into 
locked coffins, be loaded/unloaded on the next outgoing plane by their fellow 
baggage teams and make the flight in the unpressurized cargo hold. If they 
survive, damages will go way down in the future.

Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com



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

[LUTE] Re: theorbo on airplane

2014-06-18 Thread John Lenti

   I had one of those Czech cases. It survived a good long while, before
   it was destroyed, but honestly I think it was a freak accident. There
   is no good way to travel with a theorbo. If the airline says so, you'll
   have to check it and it might cost a lot of money if the agent decides
   it's oversize. If you can get it onto the plane in an extra seat,
   great. One crucial thing in the event that you have to check it is to
   slack the strings completely. It doesn't prevent the theorbo from
   getting smashed, but it will keep it from pulling itself apart, and it
   does make the instrument a little more resilient in the event of it
   being dropped or something. I do this weekly during the concert season
   and other than one time that the case went through Miami airport's
   theorbo guillotine (which is more humane than many other theorbo
   execution methods), one time the Czech case was dropped from a great
   height (I think), either in Detroit or in Seattle and the case wasn't
   damaged but a rib was broken and the seam opened most of the way around
   the top, and the time the Czech case was run over by a truck at Oakland
   Airport (was all I could surmise) and the end of the neck extension was
   wrenched off, spiral fracture style, my theorbo has always made it
   there in one piece. So that's just four incidents in maybe 120 flights.
   Oh yeah, except when I didn't slack the strings and the seams opened on
   top because any tension at all on the strings makes the instrument want
   to fold in half at low temperatures, and whichever glue joint is
   weakest will be the one to let go, and if you have tension on the
   strings when your theorbo is in the freezing cold hold of a plane, woe
   betide you. It's also kind of cathartic to finish a gig and pull all
   the tuning pegs out ("ftpt, fthpt, ftpt" they say as they
   wind down!), and put your theorbo in its case (also, ensure that the
   instrument is totally immobilized in there!) secure in the knowledge
   that there's a fairly good chance it'll be just fine and if not, well,
   the outpouring of sympathy and outrage on Facebook when you post the
   pictures is immensely gratifying.
   Good luck!
   John
   > Date: Tue, 17 Jun 2014 22:20:49 +0200
   > CC: lute@cs.dartmouth.edu
   > From: davidvanooi...@gmail.com
   > Subject: [LUTE] Re: theorbo on airplane
   >
   > I've always taken my theorbo and archlute on an extra seat, but have
   > only flown in Europe with it. It's a hassle, a bother, never want to
   do
   > it, but I prefer it to checking it in. Mine is a toy theorbo with a
   > case of about 175. I understand some airline companies only accept
   > instruments up to 140 as extra seat. I have a smallish archlute with
   a
   > case of 140. I prefer flying with that one. Well, I prefer flying
   with
   > the little 6-course, but that's not always an option.
   > YMMV
   > David
   >
   > ***
   > David van Ooijen
   > [1]davidvanooi...@gmail.com
   > [2]www.davidvanooijen.nl
   > ***
   > On 17 June 2014 19:28, Susanne Herre <[3]mandolinens...@web.de>
   wrote:
   >
   > Dear all,
   > Sorry for a question which arises often here. I have to fly with my
   > theorbo whose case is 1,63m long and I am wondering if it may fit on
   > an extra seat. The body goes into the neck at approx. 56 cm and it
   > is 40cm wide.
   > Otherwise what are your experiences with theorboes in flightcases
   > (in this case: the grey-white Czech one) in the storage of the
   > plane?
   > Would be nice if you could share your experiences!
   > Thank you and all the best,
   > Susanne
   > 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:davidvanooi...@gmail.com
   > 2. http://www.davidvanooijen.nl/
   > 3. mailto:mandolinens...@web.de
   > 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

   --

[LUTE] Re: theorbo on airplane

2014-06-17 Thread David van Ooijen

   I've always taken my theorbo and archlute on an extra seat, but have
   only flown in Europe with it. It's a hassle, a bother, never want to do
   it, but I prefer it to checking it in. Mine is a toy theorbo with a
   case of about 175. I understand some airline companies only accept
   instruments up to 140 as extra seat. I have a smallish archlute with a
   case of 140. I prefer flying with that one. Well, I prefer flying with
   the little 6-course, but that's not always an option.
   YMMV
   David

   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***
   On 17 June 2014 19:28, Susanne Herre <[3]mandolinens...@web.de> wrote:

 Dear all,
 Sorry for a question which arises often here. I have to fly with my
 theorbo whose case is 1,63m long and I am wondering if it may fit on
 an extra seat. The body goes into the neck at approx. 56 cm and it
 is 40cm wide.
 Otherwise what are your experiences with theorboes in flightcases
 (in this case: the grey-white Czech one) in the storage of the
 plane?
 Would be nice if you could share your experiences!
 Thank you and all the best,
 Susanne
 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:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:mandolinens...@web.de
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo set up

2014-02-21 Thread Shaun Ng

> On 21 Feb 2014, at 6:00 pm, "R. Mattes"  wrote:
> 
> On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
>> I use 6+8. To me it makes more sense to have F and G as diapasons
>> because they are used more often.

Since there are more Gs than G#s in the literature, to me it makes more sense 
to have a nice diapason G that is used often than to have a short G just so 
that I can have the occasional G#. 

> 
> Sorry, but I don't get this. What has the statistical distribution
> of F (vs. F#) and G (vs. G#) to do with the question of whether
> F (and maybe G) are on the the short or long jeux?
> 
>> It is probably worth mentioning that Campion, a late baroque source,
>> gives us the historical solution for the lack of a G#: play it up
>> the octave. He doesn't prefer this to the 'Maltot style' though. But,
>> as far as I know, 6+8 was most commonly used as suggested by other
>> (earlier) French treatises and the solo repertoire.
> 
> Which other treaty talks about such things (i.e. 6+8 vs. 7+7 vs. 8+6)?
> And how would you deduce from a solo piece whether the 7th string is still
> on the fingerboard?

I don't know this offhand, but from Campion I think you can tell that his 
instrument 'a Maltot' was not usual. 

I don't think there is any way to be completely certain that the 7th string is 
not on the fingerboard. The only thing that may suggest this is the absence of 
G-G# and F-F# in the writing. I haven't encountered this kind of writing in 
solo music yet, but I haven't played everything either. 

> 
>> One could argue that Maltot's tuning is the result of the change of
>> musical style that France underwent because of the rise of the
>> Italian style in France. This is seen in the French cantatas of his
>> colleagues, such as Clerambault, Bernier, which Campion refers to in
>> his Addition.
> 
> I fail to see what specific stylistic changes would require the
> possibility to finger G# and F#.

It is hard to see what Campion may have seen, but perhaps his continuo style 
demanded he had access to those notes on the fingerboard. Further study of the 
music of this period may reveal more details on this. 

> Probably the most common reason for
> needing both the fa and the mi variant of a note is when that note the
> forth of the tone - you need the mi (raised) version to "modulate" [1]
> to the fifth of the tone by means of a 65 chord on the mi and you need
> the fa (low) version for the expected 42 chord on the forth position.
> 
> To me it seems more likely that by the time of Malot (which must be
> _before_ 1730!) overspun strings made it possible to have a
> convincing G string on the fingerboard.
> 

This is also a possibility, but there is no mention of this in Campion. 

> 
> Cheers, Ralf Mattes
> 
> [1] in the modern meaning.
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo set up

2014-02-21 Thread R. Mattes

On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
> I use 6+8. To me it makes more sense to have F and G as diapasons
> because they are used more often.

Sorry, but I don't get this. What has the statistical distribution
of F (vs. F#) and G (vs. G#) to do with the question of whether
F (and maybe G) are on the the short or long jeux?

> It is probably worth mentioning that Campion, a late baroque source,
> gives us the historical solution for the lack of a G#: play it up
> the octave. He doesn't prefer this to the 'Maltot style' though. But,
>  as far as I know, 6+8 was most commonly used as suggested by other
> (earlier) French treatises and the solo repertoire.

Which other treaty talks about such things (i.e. 6+8 vs. 7+7 vs. 8+6)?
And how would you deduce from a solo piece whether the 7th string is still
on the fingerboard?

> One could argue that Maltot's tuning is the result of the change of
> musical style that France underwent because of the rise of the
> Italian style in France. This is seen in the French cantatas of his
> colleagues, such as Clerambault, Bernier, which Campion refers to in
> his Addition.

I fail to see what specific stylistic changes would require the
possibility to finger G# and F#. Probably the most common reason for
needing both the fa and the mi variant of a note is when that note the
forth of the tone - you need the mi (raised) version to "modulate" [1]
to the fifth of the tone by means of a 65 chord on the mi and you need
the fa (low) version for the expected 42 chord on the forth position.

To me it seems more likely that by the time of Malot (which must be
 _before_ 1730!) overspun strings made it possible to have a
 convincing G string on the fingerboard.


 Cheers, Ralf Mattes

[1] in the modern meaning.



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[LUTE] Re: Theorbo set up

2014-02-20 Thread Shaun Ng

I use 6+8. To me it makes more sense to have F and G as diapasons because they 
are used more often. 

It is probably worth mentioning that Campion, a late baroque source, gives us 
the historical solution for the lack of a G#: play it up the octave. He doesn't 
prefer this to the 'Maltot style' though. But, as far as I know, 6+8 was most 
commonly used as suggested by other (earlier) French treatises and the solo 
repertoire. 

One could argue that Maltot's tuning is the result of the change of musical 
style that France underwent because of the rise of the Italian style in France. 
This is seen in the French cantatas of his colleagues, such as Clerambault, 
Bernier, which Campion refers to in his Addition. 

Shaun Ng
Sent from my iPhone

> On 21 Feb 2014, at 2:43 am, Luca Manassero  wrote:
> 
>  I forgot to mention that I discovered the Franc,ois Campion' quote
>  thanks to the "Theorbo" page on Facebook :-)
>  ...and I just checked my own copy (thank you, Andreas!) of Franc,ois
>  Campion, "Addition au Traite d'accompagnement et de composition par la
>  regle de l'octave", Paris 1730: the quote can be found at p. 26 and, of
>  course, was published in 1730, not in 1716 (date of first "Traite
>  d'accompagnement et de composition selon la regle des octaves de
>  musique").
>  Luca
>   Messaggio originale 
> 
>   Oggetto: Re: [LUTE] Theorbo set up
>  Data: Thu, 20 Feb 2014 15:58:30 +0100
>  Mittente: Luca Manassero [1]
> A: [2]lute@cs.dartmouth.edu
> 
>  Hi,
>  I am afraid it's a really long story.
>  - Italian theorbos were, as far as I know, always 6 (fretted) + 8
>  basses.
>  - 7 + 7 are kind of hard to find n Museums and collections, but
>  existed. Extremely helpful when you need an occasional G sharp :-)
>  - 8 (fretted) + 6 basses are apparently very common nowadays. Not even
>  one original in museums and collections, as far as I know, BUT
>  Franc,ois Campion (1716) in his treatise states that most of his
>  colleagues have a theorbo configured that way and they call it "theorbe
>  `a la Maltot" from the name of his predecessor at the Royal Academy of
>  Music. We have strictly no other infos about a musician and theorbist
>  called Maltot, unfortunately.
>  Of course this last configuration is very confortable for many good
>  reasons, as you can finger an F sharp AND a G sharp, plus - of course -
>  many other chord patterns.
>  Best,
>  Luca
>  Anthony Hart on 20/02/14 13:59 wrote:
> 
>  Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
>  preference and reasons?
> 
>  Thanks
> 
>  Anthony
> 
>  --
> 
> 
> 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:l...@manassero.net
>  2. mailto:lute@cs.dartmouth.edu
>  3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>

[LUTE] Re: Theorbo set up

2014-02-20 Thread Luca Manassero

   I forgot to mention that I discovered the Franc,ois Campion' quote
   thanks to the "Theorbo" page on Facebook :-)
   ...and I just checked my own copy (thank you, Andreas!) of Franc,ois
   Campion, "Addition au Traite d'accompagnement et de composition par la
   regle de l'octave", Paris 1730: the quote can be found at p. 26 and, of
   course, was published in 1730, not in 1716 (date of first "Traite
   d'accompagnement et de composition selon la regle des octaves de
   musique").
   Luca
    Messaggio originale 

Oggetto: Re: [LUTE] Theorbo set up
   Data: Thu, 20 Feb 2014 15:58:30 +0100
   Mittente: Luca Manassero [1]
  A: [2]lute@cs.dartmouth.edu

   Hi,
   I am afraid it's a really long story.
   - Italian theorbos were, as far as I know, always 6 (fretted) + 8
   basses.
   - 7 + 7 are kind of hard to find n Museums and collections, but
   existed. Extremely helpful when you need an occasional G sharp :-)
   - 8 (fretted) + 6 basses are apparently very common nowadays. Not even
   one original in museums and collections, as far as I know, BUT
   Franc,ois Campion (1716) in his treatise states that most of his
   colleagues have a theorbo configured that way and they call it "theorbe
   `a la Maltot" from the name of his predecessor at the Royal Academy of
   Music. We have strictly no other infos about a musician and theorbist
   called Maltot, unfortunately.
   Of course this last configuration is very confortable for many good
   reasons, as you can finger an F sharp AND a G sharp, plus - of course -
   many other chord patterns.
   Best,
   Luca
   Anthony Hart on 20/02/14 13:59 wrote:

   Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
   preference and reasons?

   Thanks

   Anthony

   --


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References

   1. mailto:l...@manassero.net
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Theorbo set up

2014-02-20 Thread Luca Manassero

   Hi,
   I am afraid it's a really long story.
   - Italian theorbos were, as far as I know, always 6 (fretted) + 8
   basses.
   - 7 + 7 are kind of hard to find n Museums and collections, but
   existed. Extremely helpful when you need an occasional G sharp :-)
   - 8 (fretted) + 6 basses are apparently very common nowadays. Not even
   one original in museums and collections, as far as I know, BUT
   Franc,ois Campion (1716) in his treatise states that most of his
   colleagues have a theorbo configured that way and they call it "theorbe
   `a la Maltot" from the name of his predecessor at the Royal Academy of
   Music. We have strictly no other infos about a musician and theorbist
   called Maltot, unfortunately.
   Of course this last configuration is very confortable for many good
   reasons, as you can finger an F sharp AND a G sharp, plus - of course -
   many other chord patterns.
   Best,
   Luca
   Anthony Hart on 20/02/14 13:59 wrote:

   Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
   preference and reasons?

   Thanks

   Anthony

   --


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References

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

[LUTE] Re: Theorbo set up

2014-02-20 Thread Andreas Schlegel

For me it's the question: What the old ones had as setup?

Normally, we can say: An instrument with more pegs than used strings is a 
modern invention (of course, the early French theorbo seems to have a single 
strung petit jeu, but was perhaps built for double courses in the petit jeu).

And: Yes, I'm guilty, too ;-)

Normal for the Italian tiorba was 6x2 + 8x1.

Andreas

Am 20.02.2014 um 15:28 schrieb Taco Walstra:

> On 02/20/2014 01:59 PM, Anthony Hart wrote:
> 
> Hi, much depends on the type of strings you use. The 8-6 configuration will 
> give you a low F on the fingerboard but in plain gut it's not a nice sound. 
> However, it gives the possibility to tune quickly between movements or 
> pieces, when playing continuo in an ensemble, to F# or back. For a long F 
> string you'll need to climb on your chair to tune it back :-) (well standup 
> is enough, but it's a bit of a problem during a concert with an ensemble). I 
> use as lowest string on the fingerboard a G (i.e. the 7-7 configuration) 
> which is already problematic in plain gut, but with hightwist acceptable. I 
> really want to have the possibility to play G# and G. The lack of a F# (or F) 
> is with continuo playing seldomly a problem. Some will say the same for the 
> G/G#. Matter of taste. Another problem you could encounter is the fret 
> location. My theorbo has its frets on an angle due to string diameter 
> differences...
> My archlute has an extra peg and my lowest diapason is a F or F# as 
> counterpart of the one which is an octave higher (first diapason). Needs some 
> getting used to but works and is also a possibility described by nigel north 
> in his book.
> best wishes
> Taco
> 
>>Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
>>preference and reasons?
>> 
>>Thanks
>> 
>>Anthony
>> 
>>--
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 

Andreas Schlegel
Eckstr. 6
CH-5737 Menziken
+41 (0)62 771 47 07
lute.cor...@sunrise.ch


--

[LUTE] Re: Theorbo set up

2014-02-20 Thread Taco Walstra


On 02/20/2014 01:59 PM, Anthony Hart wrote:

Hi, much depends on the type of strings you use. The 8-6 configuration 
will give you a low F on the fingerboard but in plain gut it's not a 
nice sound. However, it gives the possibility to tune quickly between 
movements or pieces, when playing continuo in an ensemble, to F# or 
back. For a long F string you'll need to climb on your chair to tune it 
back :-) (well standup is enough, but it's a bit of a problem during a 
concert with an ensemble). I use as lowest string on the fingerboard a G 
(i.e. the 7-7 configuration) which is already problematic in plain gut, 
but with hightwist acceptable. I really want to have the possibility to 
play G# and G. The lack of a F# (or F) is with continuo playing seldomly 
a problem. Some will say the same for the G/G#. Matter of taste. Another 
problem you could encounter is the fret location. My theorbo has its 
frets on an angle due to string diameter differences...
My archlute has an extra peg and my lowest diapason is a F or F# as 
counterpart of the one which is an octave higher (first diapason). Needs 
some getting used to but works and is also a possibility described by 
nigel north in his book.

best wishes
Taco


Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
preference and reasons?

Thanks

Anthony

--


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[LUTE] Re: theorbo-lute

2011-11-07 Thread dc

Many thanks to Bill & Mathias!

Dennis



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[LUTE] Re: theorbo-lute

2011-11-06 Thread Mathias Rösel

The first part of Playford's Harmonia Sacra was published in 1688. That's
twelve years after Mace's Musick's Monument which is considered today as
old-fashioned in its claim for the 12c double-headed lute as a standard
lute. Nevertheless, the 12c double-headed lute still was played in England
around 1710 (see
http://www.accordsnouveaux.ch/de/Abhandlung/Quellen/Quellen.html => 33-J-Tn
42, TOKYO, Nanki ongaku bunko (J-Tn), Ms. N-4/42, ca 1706-1721).

So one may safely say that the 12c double-headed lute possibly was within
the scope of thorough-bass instruments that Playford had in mind. On the
other hand, theorbo lute may just as well have signified the English theorbo
with its 1st course down one octave (but not the theorbo which Mace
describes).

Sad enough, only a handful of 12c lutes in their pristine states have
survived at all. So, we will never know where exactly the 12c lute was
played, and if Mary Burwell's statement was justified that French masters in
general had given up that instrument. After all, it is very well suited for
song accompaniment.

Mathias

> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von dc
> Gesendet: Sonntag, 6. November 2011 08:52
> An: lute-cs.dartmouth.edu
> Betreff: [LUTE] theorbo-lute
> 
> The title page of Playford's Harmonia Sacra states that the thorough-bass
is "for
> the Theorbo-Lute, Bass-Viol, Harpsichord or Organ".
> 
> Is this "theorbo-lute" an instrument such as described in Britannica: "A
similar,
> smaller instrument, the theorbo-lute, or French lute, was a modification
of the
> regular double-strung lute, to which were added one to three off-the-
> fingerboard courses of bass strings. There were two pegboxes, one angled
> backward. Smaller and more agile than the theorbo, the theorbo-lute was
the
> favourite of the 17th-century school of French lutenists."
> 
> Or what we would now call an archlute? Or a theorbo?
> 
> If this was a French instrument, what was its name in French?
> 
> Thanks,
> 
> Dennis
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo-lute

2011-11-06 Thread William Samson

--1290077977-2123461604-1320571827=:38692
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

I think the instrument described in Britannica is what we would call a 
12-course 'English' lute - the kind that appears in lots of paintings, usually 
played by women.  Thomas Mace (1672) simply refers to this as the lute.  He 
also says a lot about the theorbo that was popular in England at the same time 
and had stepped basses - This seems to have been smaller than the European ones 
- he only mentions the top course having to be tuned down an octave to avoid 
breaking the string, whereas the European ones normally had the top two courses 
tuned down, suggesting they were so big that even the second course couldn't 
stand at pitch without breaking.
I would speculate that it was this smaller 'English' theorbo that Playford 
(some 20 years after Mace) is talking about, but of course I can't be sure.  
One thing is certain - It is a much neglected instrument.
Bill

From: dc 
To: lute-cs.dartmouth.edu 
Sent: Sunday, 6 November 2011, 7:51
Subject: [LUTE] theorbo-lute

The title page of Playford's Harmonia Sacra states that the thorough-bass 
is "for the Theorbo-Lute, Bass-Viol, Harpsichord or Organ".

Is this "theorbo-lute" an instrument such as described in Britannica: "A 
similar, smaller instrument, the theorbo-lute, or French lute, was a 
modification of the regular double-strung lute, to which were added one to 
three off-the-fingerboard courses of bass strings. There were two pegboxes, 
one angled backward. Smaller and more agile than the theorbo, the 
theorbo-lute was the favourite of the 17th-century school of French 
lutenists."

Or what we would now call an archlute? Or a theorbo?

If this was a French instrument, what was its name in French?

Thanks,

Dennis



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--1290077977-2123461604-1320571827=:38692
Content-Type: text/html; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

I think the instrument described in Britannica is what we 
would call a 12-course 'English' lute - the kind that appears in lots of 
paintings, usually played by women.  Thomas Mace (1672) simply refers to 
this as the lute.  He also says a lot about the theorbo that was popular 
in England at the same time and had stepped basses - This seems to 
have been smaller than the European ones - he only mentions the top course 
having to be tuned down an octave to avoid breaking the string, whereas the 
European ones normally had the top two courses tuned down, suggesting they were 
so big that even the second course couldn't stand at pitch without 
breaking.
I would speculate that it 
was this smaller 'English' theorbo that Playford (some 20 years after Mace) is 
talking about, but of course I can't be sure.  One thing is certain - It 
is a much neglected instrument.
Bill



From: dc To: lute-cs.dartmouth.edu 
Sent: Sunday, 6 November 2011, 7:51Subject: [LUTE] 
theorbo-luteThe title page of Playford's Harmonia Sacra states 
that the thorough-bass is "for the Theorbo-Lute, Bass-Viol, Harpsichord or 
Organ".Is this "theorbo-lute" an instrument such as described in 
Britannica: "A similar, smaller instrument, the theorbo-lute, or French
 lute, was a modification of the regular double-strung lute, to which were 
added one to three off-the-fingerboard courses of bass strings. There were 
two pegboxes, one angled backward. Smaller and more agile than the theorbo, 
the theorbo-lute was the favourite of the 17th-century school of French 
lutenists."Or what we would now call an archlute? Or a 
theorbo?If this was a French instrument, what was its name in 
French?Thanks,DennisTo get on or off this list 
see list information athttp://www.cs.dartmouth.edu/~wbc/lute-admin/index.html"; 
target=_blank>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--1290077977-2123461604-1320571827=:38692--
--

[LUTE] Re: theorbo interview

2011-10-31 Thread Mathias Rösel

Found it: http://www.cbc.ca/video/news/audioplayer.html?clipid=2157771804
(24:30--30:00). Thank you for sharing this! Have you got responses,
Benjamin?

Best,

Mathias

> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von be...@interlog.com
> Gesendet: Samstag, 15. Oktober 2011 17:02
> An: lute@cs.dartmouth.edu
> Betreff: [LUTE] Re: theorbo interview
> 
> Whoops - here's an international website link. They podcast as well, I
believe.
> 
> http://www.cbc.ca/tapestry/
> 
> 
> Quoting be...@interlog.com:
> 
> > Hey, everyone - there's an interview with me on  Canadian radio -
> > CBC's Tapestry - about the phenomenon of picking up a new instrument
> > at (ahem) mid-life.
> >
> > Here are the coordinates:
> > Sunday, Oct 23 @ 2:05 EST on CBC Radio One (99.1FM in Toronto)
> >
> > I'll be playing theorbo, singing and playing Bach, Castaldi and my own
> > compositions.
> >
> > The interview will be cached on the CBC website, so you can listen to
> > my inspirational meanderings any time.
> >
> > Remember - mid-life is the new mid-life!
> >
> > Benjamin Stein
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > --
> > please visit my website
> > http://benjaminstein.ca/
> >
> >
> >
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
> 
> 
> 
> --
> please visit my website
> http://benjaminstein.ca/
>

[LUTE] Re: Theorbo humor in comic strip

2011-10-24 Thread Luca Manassero

   Really nice :-)
   I'll use it on my blog soon (properly citing the source, of course!)
   Luca

   howard posner on 23/10/11 02.09 wrote:

If your paper doesn't have "9 Chickweed Lane" you can catch the October 21 strip
 here:

[1]http://www.gocomics.com/9chickweedlane/2011/10/22

It isn't the first time the lute family has appeared in it.

References

   1. http://www.gocomics.com/9chickweedlane/2011/10/22


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[LUTE] Re: Theorbo humor in comic strip

2011-10-22 Thread howard posner

I meant October 22, obviously.


On Oct 22, 2011, at 5:09 PM, howard posner wrote:

> If your paper doesn't have "9 Chickweed Lane" you can catch the October 21 
> strip here:
> 
> http://www.gocomics.com/9chickweedlane/2011/10/22
> 
> It isn't the first time the lute family has appeared in it.
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo interview

2011-10-15 Thread benny

Whoops - here's an international website link. They podcast as well, I  
believe.


http://www.cbc.ca/tapestry/


Quoting be...@interlog.com:

Hey, everyone - there's an interview with me on  Canadian radio -  
CBC's Tapestry - about the phenomenon of picking up a new instrument  
at (ahem) mid-life.


Here are the coordinates:
Sunday, Oct 23 @ 2:05 EST on CBC Radio One (99.1FM in Toronto)

I'll be playing theorbo, singing and playing Bach, Castaldi and my  
own compositions.


The interview will be cached on the CBC website, so you can listen  
to my inspirational meanderings any time.


Remember - mid-life is the new mid-life!

Benjamin Stein











--
please visit my website
http://benjaminstein.ca/



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





--
please visit my website
http://benjaminstein.ca/

[LUTE] Re: Theorbo Strings...

2011-07-29 Thread Martin Shepherd


Hi Hector,

Good to meet you again at Gijon - I hope you had a pleasant trip home.

You could also try Savarez KF strings.  They're more dense than gut, so 
you would need KF95A for the 6th course and KF105A for the 7th.  They 
work well on renaissance lute, should work fine on 85cm!


Best wishes,

Martin

On 29/07/2011 00:01, Hector wrote:

Dear all,

A quick question. Any experience with the New Nylgut NNG and NGE as basses on a 
85cm theorbo? I'm just thinking of stinging the short neck all with Nylgut. 
Currently I have Nylgut in the a-e-b-g and d (from the top), and I just wonder 
if the NGE will work for the A and G as well. Otherwise I'll get the Type D 
string, or something else. Arto's calculator suggests a 104 for the A and a 116 
for the G (3.5kg).

Many thanks in advance,

Hector




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[LUTE] Re: Theorbo Strings...

2011-07-28 Thread Taco Walstra

On 07/29/2011 01:01 AM, Hector wrote:

Dear all,

A quick question. Any experience with the New Nylgut NNG and NGE as basses on a 
85cm theorbo?

>

I'm just thinking of stinging the short neck all with Nylgut. Currently I have 
Nylgut in the

>

a-e-b-g and d (from the top), and I just wonder if the NGE will work for the A 
and G as well.

>

Otherwise I'll get the Type D string, or something else.

Plain gut perhaps? ;-)
My theorbo is only 76 cm and only the sound of the G string differed too 
much from the diapasson F when using plain gut in my opinion (never used 
nylgut). A loaded string or gimped helps a lot, although not historical. 
With a 85 cm monster I don't think you won't have any of these problems.

Taco

Arto's calculator suggests a 104 for the A and a 116 for the G (3.5kg).

Many thanks in advance,

Hector

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

2011-03-23 Thread T.Kakinami

I introduce some pictures, Theorbo shipping using DHL.
Please refer my blog.

http://kakitoshilute.blogspot.com/2011/03/theorbo-shipping-using-dhl.html



  Toshiaki Kakinami
  E-mail :  tk...@orchid.plala.or.jp
  Blog   : http://kakitoshilute.blogspot.com




-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Stephen Stubbs
Sent: Tuesday, March 22, 2011 10:16 PM
To: Lute List
Subject: [LUTE] Re: Theorbo shipping within the U.S

   Hello Kakinami,
   Actually, I'm glad you sent this post because DHL is shipping within
   the United States and I forgot about them as a possibility.
   Thank you,
   "The Other" Stephen Stubbs
   Champaign, IL
 __

   From: T.Kakinami 
   To: howard posner ; Lutelist
   
   Sent: Tue, March 22, 2011 7:54:22 AM
   Subject: [LUTE] Re: Theorbo shipping within the U.S
   Sorry, this is non U.S.-related.
   Kakinami
   -Original Message-
   From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
   Of T.Kakinami
   Sent: Tuesday, March 22, 2011 9:48 PM
   To: 'howard posner'; 'Lutelist'
   Subject: [LUTE] Re: Theorbo shipping within the U.S
   I have received my theorbo from Italy to Japan last month.
   DHL was used.
   There is no damage on my theorbo and a Kingham case.
   Lute maker (sender) is Mr. Paolo Busato.
   
 Toshiaki Kakinami
 E-mail :  [3]tk...@orchid.plala.or.jp
 Blog   : [4]http://kakitoshilute.blogspot.com
   
   -Original Message-
   From: [5]lute-...@cs.dartmouth.edu
   [mailto:[6]lute-...@cs.dartmouth.edu] On Behalf
   Of howard posner
   Sent: Tuesday, March 22, 2011 5:30 AM
   To: Lutelist
   Subject: [LUTE] Theorbo shipping within the U.S
   Wondering if anyone's shipped a big instrument lately, and has any
   recommendations.
   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:lute-...@cs.dartmouth.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:tk...@orchid.plala.or.jp
   4. http://kakitoshilute.blogspot.com/
   5. mailto:lute-...@cs.dartmouth.edu
   6. mailto:lute-...@cs.dartmouth.edu
   7. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

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

2011-03-22 Thread David Tayler

My short DHL story:
They sent the instrument, DHL messed up the paperwork.
I had to send the instrument BACK to Amsterdam, and then BACK to America.

Nice, huh? Three trips.
dt

At 06:15 AM 3/22/2011, you wrote:
>Hello Kakinami,
>Actually, I'm glad you sent this post because DHL is shipping within
>the United States and I forgot about them as a possibility.
>Thank you,
>"The Other" Stephen Stubbs
>Champaign, IL
>

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

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

2011-03-22 Thread David Tayler

  Secure the neck inside the case--in the event of a swift drop, that 
will go. Most cases have too much play in the neck, they need to be 
braces with foam or bubbles.
Check if it possible to reduce the sideways compression of the case. 
You may be able to drill a tinyhole trought the flap that connects to 
the top and anchor it to the side with some insulated copper wire or 
even a nylon string
Consider a cardboard box with bubble wrap inside. Don't over 
reinforce the box, it's just a case for the bubbles plus the extra 
protection of the cardboard.

For the ultimate, spring loaded case. But lots of work for that...



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

2011-03-22 Thread Graham Freeman

   An interesting point is that the damage to my (now someone else's)
   theorbo came not during shipping but during the customs inspection. The
   case was an ultra-hardshell case by Jiri Bednar, but the damage to the
   peg was most likely the result of customs officials taking it roughly
   in and out of the case while it was stuck in customs. No Kingham or IKA
   case can protect against that sort of idiocy.
   Though it might not be relevant here, those shipping instruments to the
   US from another country should remember that they will be subject to
   the terms of the Lacey Act governing the importing of wood products.
   There's lots of additional paperwork to fill out in order to be
   compliant with the act, so make sure you know the history of the
   instrument and the sort of wood out of which it's made. This gave me
   huge problems.
   Graham Freeman

   On Mon, Mar 21, 2011 at 4:29 PM, howard posner
   <[1]howardpos...@ca.rr.com> wrote:

 Wondering if anyone's shipped a big instrument lately, and has any
 recommendations.
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Dr. Graham Freeman
   Ph. D Musicology
   University of Toronto
   [3]freeman.gra...@gmail.com
   --

References

   1. mailto:howardpos...@ca.rr.com
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   3. mailto:freeman.gra...@gmail.com

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

2011-03-22 Thread Stephen Stubbs

   Hello Kakinami,
   Actually, I'm glad you sent this post because DHL is shipping within
   the United States and I forgot about them as a possibility.
   Thank you,
   "The Other" Stephen Stubbs
   Champaign, IL
 __

   From: T.Kakinami 
   To: howard posner ; Lutelist
   
   Sent: Tue, March 22, 2011 7:54:22 AM
   Subject: [LUTE] Re: Theorbo shipping within the U.S
   Sorry, this is non U.S.-related.
   Kakinami
   -Original Message-
   From: [1]lute-...@cs.dartmouth.edu
   [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
   Of T.Kakinami
   Sent: Tuesday, March 22, 2011 9:48 PM
   To: 'howard posner'; 'Lutelist'
   Subject: [LUTE] Re: Theorbo shipping within the U.S
   I have received my theorbo from Italy to Japan last month.
   DHL was used.
   There is no damage on my theorbo and a Kingham case.
   Lute maker (sender) is Mr. Paolo Busato.
   
 Toshiaki Kakinami
 E-mail :  [3]tk...@orchid.plala.or.jp
 Blog   : [4]http://kakitoshilute.blogspot.com
   
   -Original Message-
   From: [5]lute-...@cs.dartmouth.edu
   [mailto:[6]lute-...@cs.dartmouth.edu] On Behalf
   Of howard posner
   Sent: Tuesday, March 22, 2011 5:30 AM
   To: Lutelist
   Subject: [LUTE] Theorbo shipping within the U.S
   Wondering if anyone's shipped a big instrument lately, and has any
   recommendations.
   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:lute-...@cs.dartmouth.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:tk...@orchid.plala.or.jp
   4. http://kakitoshilute.blogspot.com/
   5. mailto:lute-...@cs.dartmouth.edu
   6. mailto:lute-...@cs.dartmouth.edu
   7. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

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

2011-03-22 Thread T.Kakinami

Sorry, this is non U.S.-related.

Kakinami

-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of T.Kakinami
Sent: Tuesday, March 22, 2011 9:48 PM
To: 'howard posner'; 'Lutelist'
Subject: [LUTE] Re: Theorbo shipping within the U.S

I have received my theorbo from Italy to Japan last month.
DHL was used.
There is no damage on my theorbo and a Kingham case.
Lute maker (sender) is Mr. Paolo Busato.


  Toshiaki Kakinami
  E-mail :  tk...@orchid.plala.or.jp
  Blog   : http://kakitoshilute.blogspot.com





-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of howard posner
Sent: Tuesday, March 22, 2011 5:30 AM
To: Lutelist
Subject: [LUTE] Theorbo shipping within the U.S

Wondering if anyone's shipped a big instrument lately, and has any
recommendations.



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

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

2011-03-22 Thread T.Kakinami

I have received my theorbo from Italy to Japan last month.
DHL was used.
There is no damage on my theorbo and a Kingham case.
Lute maker (sender) is Mr. Paolo Busato.


  Toshiaki Kakinami
  E-mail :  tk...@orchid.plala.or.jp
  Blog   : http://kakitoshilute.blogspot.com





-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of howard posner
Sent: Tuesday, March 22, 2011 5:30 AM
To: Lutelist
Subject: [LUTE] Theorbo shipping within the U.S

Wondering if anyone's shipped a big instrument lately, and has any
recommendations.



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

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

2011-03-21 Thread wayne cripps


If you look at FedEx's insurance policies ( 
http://www.fedex.com/us/service-guide/terms/express-ground/ )
you will see that..

6.  Shipments (packages or freight) containing all or part of the following 
items are limited to a maximum declared value of US$1,000:

Guitars and other musical instruments that are more than 20 years old, and 
customized or personalized musical instruments.


I believe that all theorbos are custom, or old.  So be careful!

  Wayne


Begin forwarded message:
> From: Nancy Carlin 
> 
>   The good things about Fed Ex are their tracking system and insurance
>   policies.  



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

2011-03-21 Thread 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



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

2011-03-21 Thread David van Ooijen

Non US-related.

I had a guitar shipped to me through UPS within Europe recently.
Supplier packed the instrument: Guitar in case. Bubble wrap (huge
specimen, like balloons). Sturdy box. Foam corners, serious
impact/shock absorbers. Another sturdy box. UPS rang the door when I
wasn't in and left a note about a 'big box'. It sure was. Guitar was
safe, in tune even!

David - guitar is lovingly referred to as 'grote doos' ever since

On 21 March 2011 21:29, howard posner  wrote:
> Wondering if anyone's shipped a big instrument lately, and has any 
> recommendations.
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

-- 
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***

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

2011-03-21 Thread Nancy Carlin

   The good things about Fed Ex are their tracking system and insurance
   policies.  When I have applied for work visas for non-American
   musicians Fed Ex has been great both in the US and in delivering
   paperwork to other parts of the world.  But nobody ever said they were
   cheap.
   Nancy
   At 03:03 PM 3/21/2011, Graham Freeman wrote:

My experience was similar to Nancy's, but with UPS. They had no
 idea
about the status of the instrument, it got stuck in customs, and
 the
buyer got stuck with a huge tax bill for a bunch of things of
 which we
were never made aware. It also arrived with a small amount of
 damage to
a peg. I don't know about the US Postal Service (I'm in Canada),
 but
I've always found Canada Post excellent for shipping such things.
Efficient, cheap, and they know where thing are. UPS also vastly
overcharged me for packaging, which was done with something less
 than
skilled hands.
FedEx might be the way to go, but I'd also see if the Postal
 Service
offers a comparable service for a reasonable price.
Best,
Graham Freeman
On Mon, Mar 21, 2011 at 5:08 PM, Nancy Carlin
<[1]na...@nancycarlinassociates.com> wrote:
I have sold a couple of instruments on Wayne's list in the
 past
  year
and bought another, which was shipped to me from the UK. The
 onen
  from
the UK came DHL last December and there was a week when I am
  pretty
sure DHL did not have a clue where it was. I called several
 times
  a day
and can guarantee you that their employees are trained to say
reassuring things. I finally got the instrument when a
 wonderful
  lady
in the San Francisco warehouse heard my story, found the
  instrument and
put it in her car on her way home from work to hand deliver
 it to
  me in
the local Starbuck's warehouse.  About 2 months later I got a
  letter
from DHL asking me to pay some duty and recently I have had a
  letter
from the California tax people wanting tax because I bought
  something
from outside the country. I don't mind paying, but it seem
 that
  they
are very disorganized not to ask for the money before I got
 the
instrument.
The 2 instruments I sold were shipped Fed Ex ground and
 things
  worked
great. The only challenge was getting a box big enough to put
 the
instruments into with a lot of bubble wrap and packaging
 around
  it. I
called a local luthier and he recommended the biggest box
 that
  UHaul
sells and it worked great.
Nancy
  At 01:29 PM 3/21/2011, howard posner wrote:
Wondering if anyone's shipped a big instrument lately, and
 has any
recommendations.
To get on or off this list see list information at
  [1][2][1]
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Nancy Carlin Associates
P.O. Box 6499
Concord, CA 94524  USA
phone [3]925/686-5800 fax [4]925/680-2582
web sites - [2][5]www.nancycarlinassociates.com
[3][6]www.groundsanddivisions.info
Representing:
FROM WALES - Crasdant  & Carreg Lafar,  FROM ENGLAND - Jez
 Lowe &
  Jez
Lowe & The Bad Pennies, and now representing EARLY MUSIC -
 The
  Venere
Lute Quartet, The Good Pennyworths & Morrongiello & Young
Administrator THE LUTE SOCIETY OF AMERICA
web site - [4][7]http://LuteSocietyofAmerica.org
--
  References
1. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
2. [9]http://www.nancycarlinassociates.com/
3. [10]http://www.groundsanddivisions.info/
4. [11]http://lutesocietyofamerica.org/
--
Dr. Graham Freeman
Ph. D Musicology
University of Toronto
[12]freeman.gra...@gmail.com
--
 References
1. [2]mailto:na...@nancycarlinassociates.com
2. [3]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
3. tel:925%2F686-5800
4. tel:925%2F680-2582
5. [4]http://www.nancycarlinassociates.com/
6. [5]http://www.groundsanddivisions.info/
7. [6]http://LuteSocietyofAmerica.org/
8. [7]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
9. [8]http://www.nancycarlinassociates.com/
   10. [9]http://www.groundsanddivisions.info/
   11. [10]http://lutesocietyofamerica.org/
   12. [11]mailto:freeman.gra...@gmail.com

   Nancy Carlin Associates
   P.O.

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

2011-03-21 Thread Catherine Arnott Smith

I am a newbie lute player who had a Dan Larson lute shipped from Duluth, 
MN to Madison, WI last spring -- via FedEx. It was one of the easier 
shipping experiences I have ever lived through -- the lute was very well 
packed, in excellent condition upon arrival, and my three cats have been 
playing with the very large cardboard box ever since, which is a plus 
from their point of view.


--
Catherine Arnott Smith, PhD
Assistant Professor
School of Library and Information Studies
University of Wisconsin-Madison

Music is neither old nor modern: it is either good or bad music,
and the date at which it was written has no significance whatever.
 (Peter Warlock - The Sackbut - 1926)

"Be sure you choose what you believe and know why you believe it, because if you 
don't choose your beliefs, you may be certain that some belief, and probably not a very 
creditable one, will choose you."

Robertson Davies, The Manticore (London: Penguin, 1972; pp. 477-478)





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

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

2011-03-21 Thread Graham Freeman

   My experience was similar to Nancy's, but with UPS. They had no idea
   about the status of the instrument, it got stuck in customs, and the
   buyer got stuck with a huge tax bill for a bunch of things of which we
   were never made aware. It also arrived with a small amount of damage to
   a peg. I don't know about the US Postal Service (I'm in Canada), but
   I've always found Canada Post excellent for shipping such things.
   Efficient, cheap, and they know where thing are. UPS also vastly
   overcharged me for packaging, which was done with something less than
   skilled hands.
   FedEx might be the way to go, but I'd also see if the Postal Service
   offers a comparable service for a reasonable price.
   Best,
   Graham Freeman

   On Mon, Mar 21, 2011 at 5:08 PM, Nancy Carlin
   <[1]na...@nancycarlinassociates.com> wrote:

   I have sold a couple of instruments on Wayne's list in the past
 year
   and bought another, which was shipped to me from the UK. The onen
 from
   the UK came DHL last December and there was a week when I am
 pretty
   sure DHL did not have a clue where it was. I called several times
 a day
   and can guarantee you that their employees are trained to say
   reassuring things. I finally got the instrument when a wonderful
 lady
   in the San Francisco warehouse heard my story, found the
 instrument and
   put it in her car on her way home from work to hand deliver it to
 me in
   the local Starbuck's warehouse.  About 2 months later I got a
 letter
   from DHL asking me to pay some duty and recently I have had a
 letter
   from the California tax people wanting tax because I bought
 something
   from outside the country. I don't mind paying, but it seem that
 they
   are very disorganized not to ask for the money before I got the
   instrument.
   The 2 instruments I sold were shipped Fed Ex ground and things
 worked
   great. The only challenge was getting a box big enough to put the
   instruments into with a lot of bubble wrap and packaging around
 it. I
   called a local luthier and he recommended the biggest box that
 UHaul
   sells and it worked great.
   Nancy

 At 01:29 PM 3/21/2011, howard posner wrote:
   Wondering if anyone's shipped a big instrument lately, and has any
   recommendations.
   To get on or off this list see list information at

 [1][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   Nancy Carlin Associates
   P.O. Box 6499
   Concord, CA 94524  USA
   phone [3]925/686-5800 fax [4]925/680-2582
   web sites - [2][5]www.nancycarlinassociates.com
   [3][6]www.groundsanddivisions.info
   Representing:
   FROM WALES - Crasdant  & Carreg Lafar,  FROM ENGLAND - Jez Lowe &
 Jez
   Lowe & The Bad Pennies, and now representing EARLY MUSIC - The
 Venere
   Lute Quartet, The Good Pennyworths & Morrongiello & Young
   Administrator THE LUTE SOCIETY OF AMERICA
   web site - [4][7]http://LuteSocietyofAmerica.org
   --
 References
   1. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. [9]http://www.nancycarlinassociates.com/
   3. [10]http://www.groundsanddivisions.info/
   4. [11]http://lutesocietyofamerica.org/

   --
   Dr. Graham Freeman
   Ph. D Musicology
   University of Toronto
   [12]freeman.gra...@gmail.com
   --

References

   1. mailto:na...@nancycarlinassociates.com
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   3. tel:925%2F686-5800
   4. tel:925%2F680-2582
   5. http://www.nancycarlinassociates.com/
   6. http://www.groundsanddivisions.info/
   7. http://LuteSocietyofAmerica.org/
   8. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   9. http://www.nancycarlinassociates.com/
  10. http://www.groundsanddivisions.info/
  11. http://lutesocietyofamerica.org/
  12. mailto:freeman.gra...@gmail.com

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

2011-03-21 Thread Nancy Carlin

   I have sold a couple of instruments on Wayne's list in the past year
   and bought another, which was shipped to me from the UK. The onen from
   the UK came DHL last December and there was a week when I am pretty
   sure DHL did not have a clue where it was. I called several times a day
   and can guarantee you that their employees are trained to say
   reassuring things. I finally got the instrument when a wonderful lady
   in the San Francisco warehouse heard my story, found the instrument and
   put it in her car on her way home from work to hand deliver it to me in
   the local Starbuck's warehouse.  About 2 months later I got a letter
   from DHL asking me to pay some duty and recently I have had a letter
   from the California tax people wanting tax because I bought something
   from outside the country. I don't mind paying, but it seem that they
   are very disorganized not to ask for the money before I got the
   instrument.
   The 2 instruments I sold were shipped Fed Ex ground and things worked
   great. The only challenge was getting a box big enough to put the
   instruments into with a lot of bubble wrap and packaging around it. I
   called a local luthier and he recommended the biggest box that UHaul
   sells and it worked great.
   Nancy
   At 01:29 PM 3/21/2011, howard posner wrote:

 Wondering if anyone's shipped a big instrument lately, and has any
 recommendations.
 To get on or off this list see list information at
 [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   Nancy Carlin Associates
   P.O. Box 6499
   Concord, CA 94524  USA
   phone 925/686-5800 fax 925/680-2582
   web sites - [2]www.nancycarlinassociates.com
   [3]www.groundsanddivisions.info
   Representing:
   FROM WALES - Crasdant  & Carreg Lafar,  FROM ENGLAND - Jez Lowe & Jez
   Lowe & The Bad Pennies, and now representing EARLY MUSIC - The Venere
   Lute Quartet, The Good Pennyworths & Morrongiello & Young
   Administrator THE LUTE SOCIETY OF AMERICA
   web site - [4]http://LuteSocietyofAmerica.org
   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. http://www.nancycarlinassociates.com/
   3. http://www.groundsanddivisions.info/
   4. http://lutesocietyofamerica.org/

[LUTE] Re: Theorbo strings

2010-12-21 Thread Sam Chapman

   Hi Caius,
   I absolutely agree with David - there is nothing better than a gut
   strung theorbo and it's much easier to keep under control than a gut
   strung lute. Also, unless you have an enormous instrument, the highest
   strings will not be as thin as they get on a lute, so there will be
   less chance of them breaking unexpectedly or wearing out during a
   concert. Are you still using wound strings for the low basses? These
   should be the first to go! I liked the old Sofracob double-twist gut
   for the basses, but since you can't get it now Gamut basses might be a
   good option. On the fingerboard I normally use Aquila half-rectified
   for strings 1-4, Aquila Venice for string 5 and Stoppani high-twist for
   string 6 (or a wound string for later repertoire). But I'm still
   experimenting with other strings, especially for the trebles.
   The problem with Nylon is that it sounds sweet but lacks the overtones
   and brightness of gut, so it doesn't project so well (as David points
   out). I don't have much experience with Carbon, but I imagine the
   thinness of the higher strings could make them unpleasant to play and
   the sound lacks depth and quality. The flexibility of Nylgut always
   gives me the impression that the tension of the string is lower than it
   actually is - after playing on real gut for a couple of years, I don't
   feel that nylgut is a very good substitute anymore. Perhaps New Nylgut
   will be more convincing?
   Looking forward to playing together in the summer...
   Sam

   On 19 December 2010 10:01, hera caius <[1]caiush2...@yahoo.com> wrote:

   Hello lutenists,
   As I played theorbo really a lot this months, I started to wonder
 about
   the sound of the strings. In this moment I use some Nylon and
 carbon in
   the high registers and some copper on the basses and it sounds
 really
   good but the basses sounds too long and the tension of the treble
   strings is too low.
   Can anyone give me some ideas what kind of strings I can try (with
   sound closer to gut), and where can I buy?
   Thank you.
   --
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Sam Chapman
   Oetlingerstrasse 65
   4057 Basel
   (0041) 79 530 39 91
   --

References

   1. mailto:caiush2...@yahoo.com
   2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[LUTE] Re: Theorbo strings

2010-12-20 Thread Mimmo Peruffo

   Hello,
   I would kindly suggest to all our customers not to confuse internal
   chat of lute society with pretty private questions concerning customer
   and company.
   The statement "What has happend with Aquilla?" could cause false
   allarms to guys and to our customers.

   For this specific case the problem should indeed be reverted: 'What has
   happened to Anton Hoger'?
   He placed his order on 08.10.12. The strings were ready in few hours.
   We mailed  him to inform him that the strings were ready on 15/10,
   22/10, 26.10, 4/11, 10/11. We riceived no reply.

   My best regards
Marry Christmas!
   MP



   --


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

[LUTE] Re: Theorbo strings

2010-12-19 Thread David Tayler

If the bass sounds too long, dampen the string.
Mersenne gives I think 20 seconds for the duration of the tone.
So you can time it and see :)
dt


At 01:01 AM 12/19/2010, you wrote:


>Hello lutenists,
>
>As I played theorbo really a lot this months, I started to wonder about
>the sound of the strings. In this moment I use some Nylon and carbon in
>the high registers and some copper on the basses and it sounds really
>good but the basses sounds too long and the tension of the treble
>strings is too low.
>
>Can anyone give me some ideas what kind of strings I can try (with
>sound closer to gut), and where can I buy?
>
>Thank you.
>
>--
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo strings

2010-12-19 Thread David van Ooijen

On 19 December 2010 10:01, hera caius  wrote:
>   As I played theorbo really a lot this months, I started to wonder about
..
>   Can anyone give me some ideas what kind of strings I can try (with
>   sound closer to gut),

Sorry to be stating the obvious, but have you thought about ... gut?
It tends to sound pretty close to ... well, gut, actually.
A single strung theorbo is fairly stable in gut, so have no fears
about tuning. And theorbo strings are not too thin, you were talking
about higher string tensions, even, so have no fear of breaking
strings either.
For the diapassons get Dan Larson's Diapasson gut, these are really
great. (Although I know some misers who use fret gut, and I must admit
from occasional personal experience that it works pretty well ;-). For
the top, anything will do: Kürschner, Aquila, Gamut, Torro,
Universale, local butcher, whatever. Strings 5, 6 (and 7 if you have
it on the fingerboard) might need some experimenting to find a sound
you're happy with.
A theorbo in all-gut is a mighty beast, projecting to the back of a
church with ease. I had the opportunity to compare mine (all-gut,
lowish tension, no-nails) with a friend's (carbon top, overspun
basses, _much_ higher tension, nails) in a Maria Vespers shoot-out
recently, and although from up-close he appeared louder, I won in the
back of the church. Hands down. These were not equal instruments, and
our techniques differ considerably, but still, the strings seemed to
be an important factor in the result.

But I hear there are strings with the actual colour (would you believe
it!) of gut these days, so you might feel tempted. ;-)

David

-- 
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***

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[LUTE] Re: Theorbo treatises

2010-11-02 Thread Taco Walstra


On 11/01/2010 04:44 PM, Sam Chapman wrote:

Hi, perhaps a more interesting book is delair's treatise of 1690: 
accompaniment on theorbo and harpsichord. I have a pdf of the english 
version which is not longer available. Grenerin and fleury contain 
several mistakes.

Taco



Dear Shaun,



I was just looking for these as well. As far as I know there are no
translations, but Bartolomi, Fleury and Grenerin are more or less
understandable from their music examples alone (helped by a very basic
knowledge of French).

Are you looking for Campion's 1716 treatise (in which he talks about
harmony and accompaniment in general) or the "Addition au traite
d'accompaniment"  from 1730 (which is much larger, and contains more
specific info about theorbo, lute and guitar)? If the latter, there is
an article by Kevin Mason: Franc,ois Campions Secret of Accompaniment
for the Theorbo, Guitar and Lute. This is in Journal of LSA, Vol XIV
(1981). Mason sums up Campion's main points.

You can find a modern edition of Grenerin here:
[1]http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise

I think there might be some mistakes in it, but I haven't been able to
get hold of the facsimile to check it. In LSA Journal Vol XIX (1986)
you can find a review of the facsimile edition, again by Kevin Mason,
which contains some interesting information.



Good luck, and let me know if you find anything else!



Sam





2010/10/30 Shaun Ng<[2]shaunk...@gmail.com>

Dear All,
Does anyone happen to know if there are English translations of
  the
following treatises and if they are available (either original or
translation) online?
Angelo Michele Bartolotti: Table pour apprendre facilement `a
  toucher
le theorbe sur la basse-continue (Paris, 1669)
Franc,ois Campion: Traite d'accompagnement et de composition selon
  la
regle des octaves de musique, op.2 (Paris, 1716/R)
Henry Grenerin: Livre de theorbe contenant plusieurs pieces sur
differents tons, avec une nouvelle methode tres facile pour
  apprendre
`a jouer sur la partie les basses continues et toutes sortes dairs
Thanks very much in advance.
Shaun
--
  To get on or off this list see list information at
  [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--
Sam Chapman
Oetlingerstrasse 65
4057 Basel
(0041) 79 530 39 91
--

References

1. http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise
2. mailto:shaunk...@gmail.com
3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo treatises

2010-11-01 Thread Sam Chapman

   Dear Shaun,



   I was just looking for these as well. As far as I know there are no
   translations, but Bartolomi, Fleury and Grenerin are more or less
   understandable from their music examples alone (helped by a very basic
   knowledge of French).

   Are you looking for Campion's 1716 treatise (in which he talks about
   harmony and accompaniment in general) or the "Addition au traite
   d'accompaniment"  from 1730 (which is much larger, and contains more
   specific info about theorbo, lute and guitar)? If the latter, there is
   an article by Kevin Mason: Franc,ois Campions Secret of Accompaniment
   for the Theorbo, Guitar and Lute. This is in Journal of LSA, Vol XIV
   (1981). Mason sums up Campion's main points.

   You can find a modern edition of Grenerin here:
   [1]http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise

   I think there might be some mistakes in it, but I haven't been able to
   get hold of the facsimile to check it. In LSA Journal Vol XIX (1986)
   you can find a review of the facsimile edition, again by Kevin Mason,
   which contains some interesting information.



   Good luck, and let me know if you find anything else!



   Sam





   2010/10/30 Shaun Ng <[2]shaunk...@gmail.com>

   Dear All,
   Does anyone happen to know if there are English translations of
 the
   following treatises and if they are available (either original or
   translation) online?
   Angelo Michele Bartolotti: Table pour apprendre facilement `a
 toucher
   le theorbe sur la basse-continue (Paris, 1669)
   Franc,ois Campion: Traite d'accompagnement et de composition selon
 la
   regle des octaves de musique, op.2 (Paris, 1716/R)
   Henry Grenerin: Livre de theorbe contenant plusieurs pieces sur
   differents tons, avec une nouvelle methode tres facile pour
 apprendre
   `a jouer sur la partie les basses continues et toutes sortes dairs
   Thanks very much in advance.
   Shaun
   --
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --
   Sam Chapman
   Oetlingerstrasse 65
   4057 Basel
   (0041) 79 530 39 91
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References

   1. http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise
   2. mailto:shaunk...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo arpeggiation

2010-03-01 Thread Martyn Hodgson


Dear Martin,

   I commonly use the Kapsberger appregiation in continuo playing (as well
   as in these solos); it is also a useful way of articulating particular
   notes. Almost always I would play the first pattern she gives in your
   bar 6 example ie p i m i even where the 'melodic line' crosses. Indeed
   the quickly passing dissonance is a valuable effect.

   Just to extend this slightly further, I also sometimes use the later
   'baroque lute' backward (upward) rake with the first finger (followed
   quickly by second) tho' this practice seems strangely little used even
   on the lute these days (despite being well documented in early
   sources)... Does she mention this technique?

   rgds

   Martyn
   --- On Sun, 28/2/10, Martin Eastwell  wrote:

 From: Martin Eastwell 
 Subject: [LUTE] Theorbo arpeggiation
 To: "Lute Net" 
 Date: Sunday, 28 February, 2010, 21:38

   Hi!
   Looking through Francesca Torelli's excellent theorbo tutor (published
   by Ut
   Orpheus Edizioni), I was a little surprised by two of her
   recommendations
   for right hand arpeggiation. She explains (p 23)the technique in which
   4
   note arpeggios, for example, are played p i m i, with the index finger
   playing the highest note of the chord last, on the third course. So the
   first bar of Kapsberger's Toccata Seconda Arpeggiata becomes...
   ---   |-
   ---   |-
   ---0---   |-0   repeated 4 times
   ---3---   |--3---
   ---3---   |3-
   ---2---   |---2--
 ./.   p  i  m  i
   However, she suggests that once you have played the second note, you
   should
   rest the index finger on the third course ready to play the final note
   of
   the 4 note pattern. I don't play this way myself (though I can make it
   work)
   and wonder if other people do. Also, if there is any mention of this
   "rest
   stroke" technique in the original sources.
   On p 24, she prints the above mentioned Toccata, with the
   recommendation
   that the student should vary the RH fingering patterns so as to ensure
   that
   all the notes in each chord are played in ascending order. The trouble
   with
   this recommendation is that very often in the piece, the notes on the
   first
   and third courses have a melodic function as well as an harmonic one.
   The
   pattern in bar 6, for example, is notated as follows;
   
   ---2   which could be realised either as---2  or as
   
   ---00---
   ---3--3-
   ---3-3--
 ./.  p  i  m  i
 --
 -2
 --  if you follow Torelli's suggestion
 ---0--
 3-
 --3--
  p  m  i  m
   Or perhaps-p  i  i  m  ?
   The result is that the melodic move Bb-A is reversed.
   She admits that "This technique may seem complex and difficult in the
   beginning..."  ! To my ear, it also alters the piece significantly, in
   this
   bar and a number of other places. What do people think? I wonder if
   anyone
   can think of passages like this in the Italian theorbo repertory where
   the
   arpeggiation is written out in full, thus giving us a hint?
   Best wishes
   martin
   To get on or off this list see list information at
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References

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[LUTE] Re: Theorbo arpeggiation

2010-02-28 Thread chriswilke

Martin,

   Very interesting!  I had no idea that Torelli advocated the rest stroke 
technique, but I've been experimenting with it myself the past couple of 
months.  My main reason for doing so is to try to get the arpeggio so fast as 
to seem like a strum.

Clearly this is what Kapsperger intended in many places.  He often uses the 
arpeggio sign over incredibly quick chords.  In Aira di Firenza he even uses it 
over a 16th note chord in a piece that has a half-note pulse!  Often, arpeggio 
signs are in places where I'd like to hear staccato chords.  (Piccinini says to 
play these types of chords "in one stroke, as on the lute," but HK allows for 
no shortcuts.)

Chris

--- On Sun, 2/28/10, Martin Eastwell  wrote:

> From: Martin Eastwell 
> Subject: [LUTE] Theorbo arpeggiation
> To: "Lute Net" 
> Date: Sunday, February 28, 2010, 4:38 PM
> Hi!
> 
> Looking through Francesca Torelli's excellent theorbo tutor
> (published by Ut
> Orpheus Edizioni), I was a little surprised by two of her
> recommendations
> for right hand arpeggiation. She explains (p 23)the
> technique in which 4
> note arpeggios, for example, are played p i m i, with the
> index finger
> playing the highest note of the chord last, on the third
> course. So the
> first bar of Kapsberger's Toccata Seconda Arpeggiata
> becomes..
> 
> ---       |-
> ---       |-
> ---0---   
>    |-0   repeated
> 4 times
> ---3---       |--3---
> ---3---       |3-
> ---2---       |---2--
>   ./.           
>    p  i  m  i
> 
> However, she suggests that once you have played the second
> note, you should
> rest the index finger on the third course ready to play the
> final note of
> the 4 note pattern. I don't play this way myself (though I
> can make it work)
> and wonder if other people do. Also, if there is any
> mention of this "rest
> stroke" technique in the original sources.
> 
> On p 24, she prints the above mentioned Toccata, with the
> recommendation
> that the student should vary the RH fingering patterns so
> as to ensure that
> all the notes in each chord are played in ascending order.
> The trouble with
> this recommendation is that very often in the piece, the
> notes on the first
> and third courses have a melodic function as well as an
> harmonic one. The
> pattern in bar 6, for example, is notated as follows;
> 
> 
>              
>                
>           
> ---2   which could be realised either
> as    ---2  or as
>              
>                
>           
> ---0             
>                
>           0---
> ---3             
>                
>           --3-
> ---3             
>                
>           -3--
>   ./.             
>                
>                
> p  i  m  i
> 
> 
>       --
>       -2
>       --  if you follow
> Torelli's suggestion
>       ---0--
>       3-
>       --3--
>            p 
> m  i  m
> 
> Or perhaps-p  i  i  m  ?
> 
> The result is that the melodic move Bb-A is reversed.
> 
> She admits that "This technique may seem complex and
> difficult in the
> beginning..."  ! To my ear, it also alters the piece
> significantly, in this
> bar and a number of other places. What do people think? I
> wonder if anyone
> can think of passages like this in the Italian theorbo
> repertory where the
> arpeggiation is written out in full, thus giving us a
> hint?
> 
> 
> Best wishes
> 
> martin
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 






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[LUTE] Re: Theorbo arpeggiation

2010-02-28 Thread Daniel Winheld

Hello Martin,

I can't address the theorbic implications, but I am very interested 
to see that first bit, where i does a single, selected rest stroke in 
order to play the course it comes to rest on following the m stroke 
is exactly what I've been doing on the d-minor Baroque lute in many 
places. Not from any instruction, it just felt logical, conserving of 
motion, and yet another way to get control of the fingers. And stay 
in touch of location, or continue in a bassward direction when that 
is what is happening. I believe crossing the i over the m, instead of 
using a was already commonplace in 17th century French lute playing; 
specialists can confirm or correct me on this one.

Perhaps getting a little OT from your specific theorbo concerns, I 
think many of us who came to lutes in general from modern guitar have 
a tendency to overuse the a finger, often to the detriment of style, 
and sometimes technique as well. Because of an old tendonitis injury 
I spent several months playing with no use of the a finger at all- 
even complex Weiss sonatas; it was a revelation how much could be 
accomplished this way- technically and musically. By the way, this 
counterintuitive, unnatural (at first) finger crossing is generally 
more manageable from the thumb out (or up/center, whatever) hand 
orientation.

Dan

>Hi!
>
>Looking through Francesca Torelli's excellent theorbo tutor (published by Ut
>Orpheus Edizioni), I was a little surprised by two of her recommendations
>for right hand arpeggiation. She explains (p 23)the technique in which 4
>note arpeggios, for example, are played p i m i, with the index finger
>playing the highest note of the chord last, on the third course. So the
>first bar of Kapsberger's Toccata Seconda Arpeggiata becomes...
>
>---   |-
>---   |-
>---0---   |-0   repeated 4 times
>---3---   |--3---
>---3---   |3-
>---2---   |---2--
>   ./.   p  i  m  i
>
>However, she suggests that once you have played the second note, you should
>rest the index finger on the third course ready to play the final note of
>the 4 note pattern. I don't play this way myself (though I can make it work)
>and wonder if other people do. Also, if there is any mention of this "rest
>stroke" technique in the original sources.
>
>On p 24, she prints the above mentioned Toccata, with the recommendation
>that the student should vary the RH fingering patterns so as to ensure that
>all the notes in each chord are played in ascending order. The trouble with
>this recommendation is that very often in the piece, the notes on the first
>and third courses have a melodic function as well as an harmonic one. The
>pattern in bar 6, for example, is notated as follows;
>
>
>
>---2   which could be realised either as---2  or as
>
>---00---
>---3--3-
>---3-3--
>   ./.  p  i  m  i
>
>
>   --
>   -2
>   --  if you follow Torelli's suggestion
>   ---0--
>   3-
>   --3--
>p  m  i  m
>
>Or perhaps-p  i  i  m  ?
>
>The result is that the melodic move Bb-A is reversed.
>
>She admits that "This technique may seem complex and difficult in the
>beginning..."  ! To my ear, it also alters the piece significantly, in this
>bar and a number of other places. What do people think? I wonder if anyone
>can think of passages like this in the Italian theorbo repertory where the
>arpeggiation is written out in full, thus giving us a hint?
>
>
>Best wishes
>
>martin
>
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


-- 
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820 Colusa Avenue
Berkeley, CA 94707

rwinh...@comcast.net
Tel 510.526.0242 
Cell 510.915.4276

[LUTE] Re: Theorbo arpeggiation

2010-02-28 Thread Martin Eastwell

Sorry-just noticed an error in my post (near the end)!

"The result is that the melodic move Bb-A is reversed."

For "Bb-A", please read "C-B"!

Unless, of course, you play a theorbo in G!

Martin




On 28/2/10 21:38, "Martin Eastwell"  wrote:

> Hi!
> 
> Looking through Francesca Torelli's excellent theorbo tutor (published by Ut
> Orpheus Edizioni), I was a little surprised by two of her recommendations
> for right hand arpeggiation. She explains (p 23)the technique in which 4
> note arpeggios, for example, are played p i m i, with the index finger
> playing the highest note of the chord last, on the third course. So the
> first bar of Kapsberger's Toccata Seconda Arpeggiata becomes...
> 
> ---   |-
> ---   |-
> ---0---   |-0   repeated 4 times
> ---3---   |--3---
> ---3---   |3-
> ---2---   |---2--
>   ./.   p  i  m  i
> 
> However, she suggests that once you have played the second note, you should
> rest the index finger on the third course ready to play the final note of
> the 4 note pattern. I don't play this way myself (though I can make it work)
> and wonder if other people do. Also, if there is any mention of this "rest
> stroke" technique in the original sources.
> 
> On p 24, she prints the above mentioned Toccata, with the recommendation
> that the student should vary the RH fingering patterns so as to ensure that
> all the notes in each chord are played in ascending order. The trouble with
> this recommendation is that very often in the piece, the notes on the first
> and third courses have a melodic function as well as an harmonic one. The
> pattern in bar 6, for example, is notated as follows;
> 
> 
> 
> ---2   which could be realised either as---2  or as
> 
> ---00---
> ---3--3-
> ---3-3--
>   ./.  p  i  m  i
> 
> 
>   --
>   -2
>   --  if you follow Torelli's suggestion
>   ---0--
>   3-
>   --3--
>p  m  i  m
> 
> Or perhaps-p  i  i  m  ?
> 
> The result is that the melodic move Bb-A is reversed.
> 
> She admits that "This technique may seem complex and difficult in the
> beginning..."  ! To my ear, it also alters the piece significantly, in this
> bar and a number of other places. What do people think? I wonder if anyone
> can think of passages like this in the Italian theorbo repertory where the
> arpeggiation is written out in full, thus giving us a hint?
> 
> 
> Best wishes
> 
> martin
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Theorbo arpeggiation

2010-02-28 Thread Peter Martin

   The suggestion of arpeggiating the toccata seconda in two different
   ways is lifted straight from Nigel North's book (1987).  I have tried
   playing it the second way ("take care always to arpeggiate in order
   from bass to treble") but found it too confusing since the pattern
   changes several times during the piece.  So I always play it the first
   way.

   As for the rest stroke, like you I can see that it's possible, but I've
   never wanted to do it.  Too many digits anchored at the same time

   All best

   Peter
   On 28 February 2010 22:38, Martin Eastwell <[1]eastwe...@mac.com>
   wrote:

 Hi!
 Looking through Francesca Torelli's excellent theorbo tutor
 (published by Ut
 Orpheus Edizioni), I was a little surprised by two of her
 recommendations
 for right hand arpeggiation. She explains (p 23)the technique in
 which 4
 note arpeggios, for example, are played p i m i, with the index
 finger
 playing the highest note of the chord last, on the third course. So
 the
 first bar of Kapsberger's Toccata Seconda Arpeggiata becomes...
 ---   |-
 ---   |-
 ---0---   |-0   repeated 4 times
 ---3---   |--3---
 ---3---   |3-
 ---2---   |---2--
  ./.   p  i  m  i
 However, she suggests that once you have played the second note, you
 should
 rest the index finger on the third course ready to play the final
 note of
 the 4 note pattern. I don't play this way myself (though I can make
 it work)
 and wonder if other people do. Also, if there is any mention of this
 "rest
 stroke" technique in the original sources.
 On p 24, she prints the above mentioned Toccata, with the
 recommendation
 that the student should vary the RH fingering patterns so as to
 ensure that
 all the notes in each chord are played in ascending order. The
 trouble with
 this recommendation is that very often in the piece, the notes on
 the first
 and third courses have a melodic function as well as an harmonic
 one. The
 pattern in bar 6, for example, is notated as follows;
 
 ---2   which could be realised either as---2  or
 as
 
 ---00---
 ---3--3-
 ---3-3--
  ./.  p  i  m  i
  --
  -2
  --  if you follow Torelli's suggestion
  ---0--
  3-
  --3--
   p  m  i  m
 Or perhaps-p  i  i  m  ?
 The result is that the melodic move Bb-A is reversed.
 She admits that "This technique may seem complex and difficult in
 the
 beginning..."  ! To my ear, it also alters the piece significantly,
 in this
 bar and a number of other places. What do people think? I wonder if
 anyone
 can think of passages like this in the Italian theorbo repertory
 where the
 arpeggiation is written out in full, thus giving us a hint?
 Best wishes
 martin

   --

References

   1. mailto:eastwe...@mac.com


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[LUTE] Re: theorbo for sale

2009-10-30 Thread Oskar De Mari

   > Date: Thu, 29 Oct 2009 20:15:00 +1100
   > To: lute@cs.dartmouth.edu; baroque-lute-requ...@cs.dartmouth.edu;
   vihu...@cs.dartmouth.edu
   > From: oskar_demari_jo...@hotmail.com
   > Subject: [VIHUELA] theorbo for sale
   >
   > Anyone looking for a theorbo?
   > I have one by Marcello Armond-Pilon for sale at a low price on Wayne
   > Cripps' page!
   > Theorbo by Marcello Armand-Pilon 2002. After Tieffenbrucke.r
   80cm/160cm
   > 14 course theorbo. The lower and upper necks are veneered with ebony.
   > Ebony fingerboard. Spruce top. One repaired crack on soundboard and
   one
   > small crack on rib. Neither crack effects the sound of the
   instrument.
   > The sound is robust, loud and bright, perfect for continuo in large
   > groups. Price: 3000 Euros. I will send photos of the instrument on
   > request including close up photos of the cracks. The instrument is in
   > Sydney Australia.
   > contact Oskar de Mari-Jones.
   > Oskar
   > __
   >
   > Let us find your next place for you! [1]Need a place to rent, buy or
   > share? --
   >
   > References
   >
   > 1. http://clk.atdmt.com/NMN/go/157631292/direct/01/
   >
   >
   > To get on or off this list see list information at
   > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 __

   Find out how here [1]Use Messenger in your Hotmail inbox --

References

   1. http://windowslive.ninemsn.com.au/article.aspx?id=823454

[LUTE] Re: theorbo

2009-04-13 Thread Leonard Williams

I meant to ask:  Is Dominic Robillard making any recordings besides those on
You Tube?

Leonard

On 4/11/09 1:01 AM, "Sauvage Valéry"  wrote:

>  Some De Visee on YT :
> 
>  [1]http://www.youtube.com/user/R0billard
> 
> 
> 
>  V.
> 
>  --
> 
> References
> 
>  1. http://www.youtube.com/user/R0billard
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo

2009-04-13 Thread Leonard Williams

I love his Sanz Canarios on Baroque guitar.  Is this recording anywhere but
YouTube??

Leonard Williams

On 4/11/09 1:01 AM, "Sauvage Valéry"  wrote:

>  Some De Visee on YT :
> 
>  [1]http://www.youtube.com/user/R0billard
> 
> 
> 
>  V.
> 
>  --
> 
> References
> 
>  1. http://www.youtube.com/user/R0billard
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo

2009-04-11 Thread Ed Durbrow

That was great!

On Apr 11, 2009, at 2:01 PM, Sauvage Valéry wrote:

>Some De Visee on YT :
>
>[1]http://www.youtube.com/user/R0billard

Ed Durbrow
Saitama, Japan
edurb...@sea.plala.or.jp
http://www9.plala.or.jp/edurbrow/luteinfo.html





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[LUTE] Re: Theorbo sneezes

2009-02-22 Thread howard posner

On Feb 22, 2009, at 1:12 AM, Martyn Hodgson wrote:

> You say that Praetorius doesn't mention pitch (tho' many might
> disagree with you) but then go on to relate your derived size of
> 79cm to modern practice and thus draw insecure conclusions.

My "conclusions" are not "insecure," but rather downright silly,
since they are based on the assumption you've stated repeatedly: that
all historical theorbos were built with the longest practicable
string length for maximum volume.  If we retain that unsupported
assumption, an 89cm string length is, by definition, the maximum for
a double-re-entrant theorbo in G, and thus a theorbo in A has to be
smaller.  Drop the assumption and the whole "toy theorbo" debate
vanishes in a puff of logic.

> It was precisely the unecessary stringing of small theorboes (say,
> fingered string lengths around 76cm)

Why, Martin, I believe this is the first time you've actually given
us a Toyosity Threshold Number.  I'm very disappointed to find out my
instrument doesn't qualify as a toy.  I'll fix that right away with a
hacksaw, of course, and notify Mattel.

> You ask about Praetorius's 'Paduanische Theorba'  and the stringing
> of its long  basses (at 128cm) and imply his evidence is thereby
> somehow discredited.

What I imply is that if his Paduan Theorbo is otherwise unknown, it's
a poor model of "the historical theorbo," even if Praetorius did his
drawing based on x-ray examination of a real instrument someone sent
him from Padua.

> In fact the obvious answer is that, unlike his Roman theorbo, the
> Paduan version used contemporary lute bass string technology
> (loaded, high twist, flexible, roped,). For example: a 64cm G
> lute with a low course at D relates exactly to the lowest bass (,D)
> of the Paduan theorbo at 128cm.

I thought a major point of theorbos was to have bigger, hunkier,
louder, stronger basses than 64cm G lutes.  But maybe I'm one of
those people who's just hung up on big theorbos.
--

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[LUTE] Re: Theorbo Nicki don't lose that number

2009-02-19 Thread howard posner

On Feb 19, 2009, at 9:39 AM, Roland Hayes wrote:

> So much for no double reentrant tuning on small theorbos. R.
>
>> On Feb 19, 2009, at 6:12 AM, Roland Hayes wrote:
>>
>>> What about the Castaldi duets? What tuning for the smaller
>>> instrument?
>>
>>> R
>>
>> Just like the big one, an octave higher

Well, if someone wanted to be obtuse about it (not that anyone around
here would be obtuse) he could argue that the tiorbino, like the
theorbo, was strung in double re-entrant tuning because the
instrument was built to such a size that it was impossible to tune it
as an octave lute in A.  There are such large holes in that argument
that we're be none the worse for skipping it.

You're right in that the tiorbino shows that someone liked double re-
entrant tuning for musical reasons, not because of necessity or
practicality.  On the other hand, there's not much evidence that
Europe was overrun by tiorbinos.
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