So it seems to be easy to affect to the pitch by the finger pressure,
testimoned by our great Vincenco G. himself: "Do not believe that such
_tastatura_ is difficult to make or to be put to use, but consider it to be
easy,"
Here I strongly agree with VG! ;-)
Arto
On Sat, 7 Jan 2012 08:05:53 -08
On Jan 7, 2012, at 9:04 AM, Roman Turovsky wrote:
> Ever heard of IRONY?
Yes, but I'm one of the seven billion people who don't know what it means.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Jan 7, 2012, at 2:03 AM, Martyn Hodgson wrote:
> Read Lindley's book on lute temperaments if you don't believe me.
I have read it, and it's a major reason I don't believe you.
Lindley ignores or dismisses nearly all the evidence that contradicts his
thesis, often comically. My personal fa
Ever heard of IRONY?
RT
- Original Message -
From: "howard posner"
To: "Baroque lute Dmth"
Sent: Saturday, January 07, 2012 11:57 AM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
On Jan 7, 2012, at 2:09 AM, Martyn Hodgson
On Jan 7, 2012, at 2:09 AM, Martyn Hodgson wrote:
> Incorrect again Howard - he does not say those who use tastini are
> 'prominent' players as you do (from where do you get this), but that
> they are foolish.
You must have missed Jean-Marie's post yesterday, quoting Galilei's Fronimo:
>
Arto,
--- On Sat, 1/7/12, wikla wrote:
> These, after being plucked, most of the time hurt
> our ears with
> the ordinary fretting - now too low, now too high -
> according to whether
> they have been stretched on the lute many or few days."
>
Yes. This last sentence makes it clear that Galil
I think V. Galilei says something also of this (p. 167 in Carol
MacClintock's translation):
"[...] I can raise or lower the sound produced by the Mezzana struck at the
fourth fret as I please, and likewise that of the Tenore struck at the
first, and third, and any fret without altering any of the
Incorrect again Howard - he does not say those who use tastini are
'prominent' players as you do (from where do you get this), but that
they are foolish.
MH
--- On Fri, 6/1/12, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Sharp ke
m: howard posner
> Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
> tuned lute...
> To: "Baroque lute Dmth"
> Date: Friday, 6 January, 2012, 16:38
>
> On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
> > Equal temperam
Read Lindley's book on lute temperaments if you don't believe me.
MH
--- On Fri, 6/1/12, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: "Baroque lute Dmth"
Well, my original mail on this subject referred - among other things -
about the possibility of correcting the tuning on higher frets easier than
on the first fret: the first fret bb and f# are hard to tune by left hand
pressure - that problem becomes much easier on higher frets. Perhaps this
corre
On 6 January 2012 22:45, Jean-Marie Poirier wrote:
> I like the isea of playing a "charlatan of music" :-). Don't you ?
So true. And at the same time we can suggest such unwordly beauty with
our imperfect instruments. Suggestion is the key word here. Perhaps
also in our attempts at more perfect t
David, I made amends for that mistake of mine ! ;-(
There is another quotation from Mersenne I like very much :
"According to the common saying of musicians, the lute is the charlatan of
music, because it passes off as good that whichis bad on good instruments..."
(Translated by Mark Lindley ,
2012/1/6 Jean-Marie Poirier :
> I think his {Denis'] "ivory frets", which could be adjusted according to the
> required temperament, are only another experimental endeavour comparable with
> Galilei's suggested use of "tastini"
On the contrary, Galilei does not suggest the use of tastini, ins
Correct, Howard, my mistake. But nonetheless this technique, which was probably
not very popular though... Here is the passage about tastini taken on Arto
Wikla's site, thank you Arto ! :
"Eumatius [the student]: ... Also, how does it happen that you do not use frets
that are spaced by unusual
Prominent???
RT
From: "howard posner"
Sent: Friday, January 06, 2012 3:48 PM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
Although Denis does not recommend openly a sort of equal tempe
Isn't that evocative of the "Well-tempered keyboard"...
JM
>There is another important passage in the Jean Denis's text, well woth
>quoting. I will try a translation :
>
>After hearing a harpsichord tuned in equal temperament Denis asks why they use
>this temperament which he judges bad :
>
>"B
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
> Although Denis does not recommend openly a sort of equal temperament, he
> acknowledges the fact that fretted instruments are not naturally and
> technically apt for unequal temperaments. I think his "ivory frets", which
> could be adjus
; Lutenist, Guitarist and Composer
> www.christopherwilke.com
> --- On Fri, 1/6/12, Jean-Marie Poirier wrote:
>
> From: Jean-Marie Poirier
> Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
> tuned lute...
> To: "howard posner" ,
-Marie Poirier
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
tuned lute...
To: "howard posner" , "Baroque lute Dmth"
Date: Friday, January 6, 2012, 12:51 PM
Dar Howard and all,
I am sorry I must disagree with the Mersenne
On Jan 6, 2012, at 9:51 AM, Jean-Marie Poirier wrote:
> Mersenne insists that the best way to play in tune with fretted instruments
> in particular, is to use some sort of equal temperament.
And yet the fret placement he gives in Harmonie Universelle is decidedly
unequal.
--
To get on or of
Dar Howard and all,
I am sorry I must disagree with the Mersenne bit below. Mersenne insists that
the best way to play in tune with fretted instruments in particular, is to use
some sort of equal temperament. Just one example, from his Livre Troisième des
Genres de la Musique, Proposition XII :
On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
> Equal temperament was used on lutes from the 16th century onwards
Except by Gerle (1532)
And the Dowlands (1610)
And Ganassi (1543)
And Mersenne (1636)
And anyone who read their books and followed their instructions
And anyone who played with
Tied frets are adjustable. That's a practical thing for dodgy strings,
not just for dodgy temperaments. And when the actions changes due to
summer, winter, old age or new thoughts on stringing, you can adjust
the height of the frets. Good for getting rid of that annoying buzz. I
had an old Panormo
becoming annoyed with mean-tone
by mid 17th century (such as Frescobaldi).
RT
- Original Message -
From:
To:
Sent: Friday, January 06, 2012 9:08 AM
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
Out of curiosity - is there any evidence that Lute
f the time, if the
makers simply glued on wooden frets?? trj
-Original Message-
From: Martin Shepherd
To: baroque-lute
Sent: Thu, Jan 5, 2012 11:07 pm
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned
lute...
Hi Arto,
Well the "temperament problem"
Equal temperament was used on lutes from the 16th century onwards (much
contemporary comment/evidence). This is because the same fret spaces
are obliged to fit both chromatic and diatonic intervals.
However, some mid 17th century French style lute music might allow a
particular mea
Hi Arto,
Well the "temperament problem" is the same for baroque and renaissance
lute, with the 2nd to 4th courses being the same tuning and in the Dm
tuning the 1st being the same as the 4th! So G major works well,
because you can have the 1st, 4th and 6th frets in the "low position"
(nearer
28 matches
Mail list logo
