RT, your sources may be quite accurate as to the invention of drawing wire
in Germany, but that doesn't say anything about other places. And why do you
separate the drawing of wire from steel wire? Steel is a form of iron, but
bronze and brass are not. Are you saying that the drawing of any metal
Tim,
I totally agree with you, but I'm also making an assumption. And I must
confess that it has been so long since I heard Jean Ritchie and her family
(and I believe they were sources for Lomax's recordings) that I don't know
if she used a noter or chording. And I agree that it is the younger
Roman,
I have no idea what encylopedia you are using, nor what it speaks of. I
don't even know what wire is in that definition. But chain mail was being
used in the late first millenium, and probably in the middle part of it. And
what is chain mail other than rather thick wire. King Arthur's
Stephan Olbertz wrote:
this thread led me to re-read Segerman's article on his
website at
http://www.nrinstruments.demon.co.uk/LuSt.html
Thanks for this. There is a lot of food for thought in that article.
He says:
It is possible to approach the original type of sound balance with
modern
According to Jon Murph the Celts also had jet propulsion and cold fusion
at
least since Roman times.
Mr. Turovsky,
You are quite correct. The Celts were giants and a Celt's fart could propel
him to the moon. Perhaps that is why there are so many Celtic legends. As to
cold fusion those
Roman,
OK, I've had it. Your snippy replies to David Cameron did the trick. I've
tried to be polite and maintain a conversation.
It doesn't matter whether wire strings could have been made a thousand years
ago, or two or three thousand. It doesn't matter whether the lute came from
the hunter's
Dear Ed,
A very interesting thread, this. I'm sticking my head a bit above the
parapet this time just on a point of information. A roped gut string will
always be a bigger diameter than a loaded string because it is less dense.
In fact it will also be bigger and more difficult to finger than
Hello,
Although Loeillet, J. B. is a Baroque author, because there is a
bigger number of people that look at the Renaissance list, exceptionally
put this petition here (I already made it in the baroque list!)
Does somebody have the original continuo figures of the first Adagio
from the
I do not feel like joining the legions of people who seem to fight with you.
come on, please.
Wire harps WERE in existence in early Ireland and Scotland, whether you like
it or not.
The 14th century does qualify was early.
they had wires doesn't mean they had wired harps. And wire
Drawing wire was invented in Germany in the mid 1300's, drawn steel 1632.
Beaten wire technology of before the 14th century precludes the possibility
of metal stings on celtic harps until Renaissance (counted from Dante,
Giotto Co).
RT
__
Roman M. Turovsky
http://polyhymnion.org/swv
Dear Martin,
I agree. You are most correct, in that the sources never mention roped
gut. I can imagine that roping gut is a modern invention, rather than a
historical fact. I have found the same results with roping, that it gives
a rather dull sound. The lower tension solution seems to be
According to Jon Murph the Celts also had jet propulsion and cold fusion
at
least since Roman times.
Mr. Turovsky,
You are quite correct. The Celts were giants and a Celt's fart could propel
him to the moon.
Must be acorn diet, fueled by pre-noon mead.
An early harpist is one who
It doesn't matter whether wire strings could have been made a thousand years
ago, or two or three thousand. It doesn't matter whether the lute came from
the hunter's bowstring in his cave by stopping the string, or if that was
the harp by adding more strings to the bow and becoming a pure
__
Roman M. Turovsky
http://polyhymnion.org/swv
From: Jon Murphy [EMAIL PROTECTED]
Date: Sat, 27 Nov 2004 04:05:36 -0500
To: Bonnie Shaljean [EMAIL PROTECTED], [EMAIL PROTECTED], Roman
Turovsky [EMAIL PROTECTED]
Subject: Re: Wire strings
then someone might
have beaten it
bill kilpatrick wrote:
i repeat that recordings of the lute/guitar instrument
popular in germany before the war should be plentiful
and could prove useful as the playing technique for
these shouldn't have differed greatly from the lute
proper.
If by lute proper you mean the lute as it was
i repeat that recordings of the lute/guitar instrument
popular in germany before the war should be plentiful
and could prove useful as the playing technique for
these shouldn't have differed greatly from the lute
proper.
If by lute proper you mean the lute as it was built and played from
as a minor diversion to the big contest shaping up in
center ring ... ladiees and gem'en ...
we played at a castle up in chianti last weekend for
large group of medical people from spain. what it
involved was walking around between the tables,
strumming my charango as they yelled at each
--- Roman Turovsky [EMAIL PROTECTED] wrote:
i repeat that recordings of the lute/guitar
instrument
popular in germany before the war should be
plentiful
and could prove useful as the playing technique
for
these shouldn't have differed greatly from the
lute
proper.
If by lute
i repeat that recordings of the lute/guitar
instrument
popular in germany before the war should be
plentiful
and could prove useful as the playing technique
for
these shouldn't have differed greatly from the
lute
proper.
If by lute proper you mean the lute as it was
built and played
bill kilpatrick wrote:
presumably, the technique for playing medium to
large, bowl backed, lute family instruments in a
european context is the same for one as another.
The presumption is not only incorrect but unnecessary, since empirically we
know that the techniques vary widely.
To get
- presumably, the technique for playing medium to
large, bowl backed, lute family instruments in a
european context is the same for one as another.
No, it's not. Wandervogel-laute has nothing to do
with lute-proper in terms
of playing.
how different? ... posture? ... finger placement?
To all on the lute list,
It gives me great sadness to announce to the lute net that Dawn Culbertson
passed away. She was a contributor to this list occasionally, was a
lutenist in the Baltiomore area, and was a current board member of the lute
Society of America.
I liked Dawn very much, and
Just added #75:
Der Müllerin Verrat, a Romanze by Goethe Reichardt, for bass and
baroque lute.
at
http://www.polyhymnion.org/lieder/german.html
Enjoy,
RT
__
Roman M. Turovsky
http://polyhymnion.org/swv
To get on or off this list see list information at
Dear Martin and Ed,
historical fact. I have found the same results with roping,
that it gives a rather dull sound. The lower tension
solution seems to be logical.
Do you really think that one could play with basses with a 1N or more less
tended than the other strings? It contrasts with all
Dear Francesco,
I did not imply that for the basses that less tension was used. I think
for the baroque lute, less tension overall on the entire instrument is the
most logical possibility, not just for the basses. I agree that the gimped
or Pistoy is a much better sound that a roped (i.e.,
Dear Ed,
ah, ok, but then you should tune at a lower pitch because they
hadn't string thinner than 0.40mm. In any case I'm wondering if there were
instrument built and used for playing in consorts and instruments built for
solo and if they actually used different tuning (meaning the
I meant to send this to the group:
To: Roman Turovsky [EMAIL PROTECTED]
From: [EMAIL PROTECTED] (David Cameron)
Subject: Re: Wire strings
In your estimate (permitting the possibility of quality sufficient for a
musical string), what would it take in terms of man-days to produce 1 meter
of 0.3
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