Even more. I think ET is a musical embodiment of same
egalitarian/republican
idea that was perpetrated on the civilization by the secret cabal of
Rosicrucians and Illuminati, and MT embodies submission to despotism and
status quo. All of this fits nicely into Platonic connection between
. The main idea here, as you know,
is to decrees the force pulling the pegbox toward the bridge
As in most things in life one sacrifices one thing for another. Pushing
straight up on a small rebate cut into the neck, or straight down on the
neck both work in either case.
The tension holding
The tension holding the nut in place is convenient because it
allows a quick change of different nuts without having to bother
about glue
I makes no difference about the angle. a swan neck nut stays in place
just fine as does a guitar etc.
++I agree with this and did not mean to imply
collective lute wisdom,
in his Toccata Prima from Intavolatura di luto (Bolgona 1639) Piccini
goes up to the 20th fret on the first course (bar 37/38):
h-a-r-e-f-h-k-l-n-h-k-l-n-p-r-s-u
Are there lutes with that many frets? Or do you play it on the soundboad
without frets ? Or is this not
Walter Durka wrote:
in his Toccata Prima from Intavolatura di luto (Bolgona 1639) Piccini
goes up to the 20th fret on the first course (bar 37/38):
h-a-r-e-f-h-k-l-n-h-k-l-n-p-r-s-u
Are there lutes with that many frets? Or do you play it on the soundboad
without frets ? Or is this not
Most Lutes before the early 1600s do not appear to have stuck on frets (see
iconography) - the practice was to play on the belly.
Walter Durka [EMAIL PROTECTED] wrote:
collective lute wisdom,
in his Toccata Prima from Intavolatura di luto (Bolgona 1639) Piccini
goes up to the 20th fret on
There are a number of misunderstandings about the forces on a peg box.
First of all the only force transmitted to the peg box comes from the
strings. Bending them around a corner doesn't make much difference to
the force in magnitude (it decreases a little due to friction although
depending
Seems to be A MANDORA, but the top is not original, was made into a guitar.
RT
http://polyhymnion.org
From: Hans Kockelmans [EMAIL PROTECTED]
A strange lute by Joh Christian Hoffmann, 1733 for sale. What could it be? A
colascione?
http://www.music-treasures.com/ click on
The difference in the angle is that, according to my experience,
fewer problems occur with non-linear tuning in instruments with straight
necks
Absolutely, especially in the case of 13 courses, after messing around
for a decade or two, with the rickety bent back pegbox, they finally figured
Dear Richard,
Please see my comments below ++.
___
There are a number of misunderstandings about the forces on a peg box.
First of all the only force transmitted to the peg box comes from the
strings.
++The other forces besides the transmited force are friction and the
Dr. Marion Ceruti wrote:
Actually, bending a line, cord, rope, or string around corners
produces a great deal of force in the form of friction, which always
opposes motion. It is friction that keeps our pegs from rotating
when set in a certain position (in theory).
Indeed. The most
Dear Howard,
Please see remarks below.
Best regards,
Marion
Dr. Marion Ceruti wrote:
Actually, bending a line, cord, rope, or string around corners
produces a great deal of force in the form of friction, which always
opposes motion. It is friction that keeps our pegs from rotating
when set
Roman Turovsky mailto:[EMAIL PROTECTED] schrieb:
Seems to be A MANDORA, but the top is not original, was made into a guitar.
The instrument has six courses, if I'm not mistaken, not five (so, it's
not what is generally accepted as guitar). According to Pohlmann's list
(2nd ed. 1982), mandoras
I don't like that bridge position.
RT
Seems to be A MANDORA, but the top is not original, was made into a guitar.
The instrument has six courses, if I'm not mistaken, not five (so, it's
not what is generally accepted as guitar). According to Pohlmann's list
(2nd ed. 1982), mandoras from
'u' ?! ni! ni! ni! ...
There are lute-like instruments with longer fretboards than the lute, cittern
for
example, some models of which commonly ommit the 18th fret, and should have 20
or
perhaps more. Perhaps an orpharion was made that could handle that. Modern
banjo
has 20 frets, 23 if
I don't like that bridge position.
nor do I. The position of the bridge and the curved shape of the pegbox
remind me of the so-called Wagner-Laute (Magnus Tieffenbrucker, 1610,
now preserved in Wagner-Museum, Triebschen / Luzern) which has probably
been rebuilt and has similar traits.
I have a theory about the bent peg box that of course becomes moot with the
advent of the Swan neck etc. The Lute is a very lightly constructed
instrument, with the neck bent back the overall balance becomes more easily
managed while playing. The neck assembly is after all the heaviest portion
True, but of course they should have bent the pegbox ninety degrees in the
other direction and made it even longer. Then you could hang a little weight
on the end of the pegbox and it would kick the lower rim of the lute in
towards you, instead of flipping it out.Would have saved generations of
Richard
So peg boxes are not bent back to reduce the
force. It does, of course, change the direction but so what?
They are bent back to reduce weight. If you extend the pegbox out
straight you must reinforce with more wood, that means more weight. The
force of the pegbox is pushing
++In reference to the deformation that occurs in swan-neck
lutes, we have a slightly non-equilibrium situation. The forces
are not exactly balanced and over a period of time the string
tension overcomes the rigidity of the neck. It will overpower the
neck in the place of least resistance, namely
I have a theory about the bent peg box that of course .becomes moot with
the
advent of the Swan neck etc. The Lute is a very lightly constructed
instrument, with the neck bent back the overall balance becomes more
easily
managed while playing. The neck assembly is after all the heaviest
portion
Yes, this is a reasonable theory. Certainly it moves the CG closer
to the rose, as Richard has pointed out. The question is what is the main
reason for the bend. Was it to alter the CG location or does it have
something to do with stabilty and the CG change is just an added
benefit?
If my lutes
Dear Michael,
Whereas some people think it's a problem, others see it as
an advantage. Like so many things, there are advantages
and disadvantages. How does a luthier compensate?
Assuming you did not like this effect, what kind of a repair
would the luthier do to fix it? Have you had this done
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