Hi Martin:
I just wandered to my mailbox here for the first time in a while and found your
message. You've probably seen me in action alot with my little Pentax Optio330 (about
2 yrs old now) with 3.34 megapixel capacity, using Flashcard media for storage (lots
of my photos are on the LSA
Herbert,
have a look at DvE's website
www.vanedwards.co.uk/glue.htm
This answers most of your questions.
Hide glue is a solution of collagen in water, so to say. You apply it with a
brush to the parts to be glued together and press both parts for a certain
amount of time, say 15 mins. The glue
Dear Luties,
As a singer I can tell you that we almost never care if we have to
transpose. The voice is infinitely transposable -- well, not *infinitely*,
but until a transposition puts a song out of our singing range it is not
difficulty at all to sing in another key. Those singers who
I see, hide glue is more like jello than solder.
But wouldn't that first note depend upon the tuning of the lute?
Simple, really:
The lute player plucks the introductory note indicated by the
tablature;
the singer hears this as their first note and everything in the rest
of the tune is just relative to that.
[Singers of early music do not
Dear Candace,
As often as not, transposing the voice part to match a lute in G
brings the singer's notes into a sensible range. For example, airs
de cour which imply a lute in A tend to have quite a high range. By
transposing down a tone for the sake of a lute in G, you avoid those
horrible high
Dear David,
You are right to say that you could change the pitch of the
tablature (i.e. use different sizes of lute). That would work as
well as changing the pitch of the voice. Something has to change, so
it could be either voice or lute. The trouble is, it is more
tempting to think that the
Dear Martin,
Days ago I send you privately some hints about photographing with a
digital camera, and about lighting. Did you receive my messages?
Kind regards,
Manolo Laguillo
Barcelona
--
Hi Carl:
The thumb and index fingers are used to play the rapid passages in much the
same way a plectrum is used. If you think of it in that way it might make a
bit more sense. Understand in Renaissance music the rapid runs are to be by
actually striking each note. In a lot of Classical Guitar
From: Herbert Ward [EMAIL PROTECTED]
Subject: Re: Using hide glue.
I see, hide glue is more like jello than solder.
Hide glue *is jello* (without the sugar, food color, and flavor.)
You can (and I have) used unflavored gelatin as hide glue.
It doesn't smell so bad as some hide glues
I am familiar with perfect pitch; please do not insult my
intelligence or training. (My composition professor at McGill, Bruce
Mather, had moveable / tunable perfect pitch that was entirely
automatic: whatever pitch level the ensemble tuned to - whether
A=440Hz or whatever, he automatically
I have seen quite a few messages from people questioning thumb
under technique who are 1) teaching themselves and 2) only
giving it a few weeks. I think this is a mistake! I myself am
one of those people who has picked up a lot of musical instruments
on my own, with sometimes good results, but
Wayne Cripps at [EMAIL PROTECTED] wrote:
You can (and I have) used unflavored gelatin as hide glue.
It doesn't smell so bad as some hide glues sold as such...
Can you recommend a particular product? It sounds perfect for repairing a
ukelele that my kids will doubtless smash up again soon.
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net [EMAIL PROTECTED]
Sent: Wednesday, February 11, 2004 9:43 PM
Subject: Airs de Cour
Dear David,
You are right to say that you could change the pitch of the
tablature (i.e. use different sizes of lute). That would
Stewart McCoy at [EMAIL PROTECTED] wrote:
As often as not, transposing the voice part to match a lute in G
brings the singer's notes into a sensible range. For example, airs
de cour which imply a lute in A tend to have quite a high range. By
transposing down a tone for the sake of a lute in
I have to go with Candace on this one. I have been sight reading for voice
for over 55 years. Perfect pitch in a singer can be a handicap. What one
needs is the perfection of the intervals and the memory of the tonic pitch
for the duration of the piece. ( I remember a man in my old a cappella
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