Dear Marco Pesci (and all)
On Tuesday 26 April 2005 01:00, marcopesci wrote:
In my opinion that archlute was tuning with octaved courses on 4th,
5th and 6th, exactly like 6 renaissance lute. Nanki ms. has very
closed connections with an italian manuscirpt treatise on continuo
for the
Has anybody an answer to the following.
Archlutes often have a stringlength of about 65 cm. Tuning at 415 hz gives for
a gut topstring a tension of 40 N, which is very high. My experience so far
is that a gut string of 0.40 mm (I take 1350 kg/m3) is dying within an hour.
I.e. not breaking but
There is a brilliant book (if you read German) on the early violin by
Brigitte Geiser: Studien zur Fruhgeschichte der Violine, Verlag Paul Haupt
Bern und Stuttgart, 1974 The author lists and analyzes wide array of written
sources of what could ever be related to the subject (rubeba, viella, viola,
Dear Taco and All,
Preferred sring tension obviously varies a bit between people. I find
40N OK for a single top string on a 60cm lute, dropping to about 30N for
(double) second course and 28N for most of the rest.
Opinion amongst modern stringmakers seems to be that the thinnest string
Dear Taco,
This is one of the mysteries we have yet to answer. In my opinion, with
the larger instruments with longer string lengths, the instrument was tuned
lower. For example, your 65 cm lute should actually be in F, not in G
(a=440). That string length exceeds the upper limits of gut.
Taco Walstra wrote:
... So what was put on for example a sellas in the past? Was
everything tuned down to 392 Hz? Some instruments were even 67 cm, so how
to
handle such an instrument without using carbon strings?
Taco Walstra
Lower pitch tuning (392Hz or even lower) + transposition
On Tuesday 26 April 2005 15:09, you wrote:
I have the same problem with my gut strung baroque lute, at 70.5 cm. I
have it at 415, but the longest one should have for a treble (F at 415) is
68 cm. Anything else will break prematurely. The answer is that this
instrument should be at a = 392.
I recall a while back the question came up regarding the use of the A finger,
in baroque lute music in general, and of Weiss in particular.
Someone mentioned that Weiss, specifically called for the use of A, in
certain pieces.
Are there any indications of this in the London MS? If not
Dear lutenists,
in the LSA Quarterly, , No.1, there are some nice contemporary
lute compositions. It is very nice to promote also new music for lute!
Many thanks to editors! And of course to the composers... :-)
I like especially The Dauphin by Carver Blanchard and Le tombeau de
Louis
take a look at the d-major capriccio fairly at the beginning of the first
book - I don't have it at hand but it simulates barriolage which is common
for violin players.
Best Thomas
Thomas,
There's a Capriccio in D towards the end of volume 2, but I can't find any
direct indication of A
Suppose you took a lute and turned half the pegs up 5-15 cents,
and half the pegs down 5-15 cents, so that its tuning was com-
pletely clobbered.
Now suppose you handed the lute to a person who was very good
at tuning lutes, and knew all the tricks. Could he tune the lute
so that it would
Hi, Arto and lutenists --
I was the editor for the February issue of the LSA Quarterly, and I'm
heartened to hear your good words about the compositions in the issue. I feel
strongly about encouraging the composition and performance of new lute music!
To my embarrassment, the omission of the
Divine retribution for using Sibelius? :)
Alain
[EMAIL PROTECTED] wrote:
Hi, Arto and lutenists --
I was the editor for the February issue of the LSA Quarterly, and I'm
heartened to hear your good words about the compositions in the issue. I feel
strongly about encouraging the composition
hi all,
I would like to play something together with a friend who plays
the recorder. Are there any resources on the web for recorder
(or just playable on a recorder) and baroque lute?
thanks!
Bernd
To get on or off this list see list information at
Dear Aquila's friends,
Starting from today, 26 April 2005 Aquila's setting is changed:
Aquila Corde Armoniche di Mimmo Peruffo C S.a.s.
Via Aviano 10, 36030 Caldogno, (Vicenza) Italy;
Phone +444 986972; Fax +444 989399
mail: [EMAIL PROTECTED]
homepage: www.aquilacorde.com
The are no any
- Original Message -
From: Alexander Batov [EMAIL PROTECTED]
To: lute list lute@cs.dartmouth.edu
Cc: Roger E. Blumberg [EMAIL PROTECTED]
Sent: Tuesday, April 26, 2005 4:53 AM
Subject: Re: Widening the net -- Viola da Braccio
There is a brilliant book (if you read German) on the early
I'm had similar things happen to tablature I've downloaded in pdf
format. When I went to print them, it's come out as blank tablature.
Handy if I had needed blank tablature, but not much use if I wanted
to play that particular piece of music. I've resorted to using a
print to pdf function on my
Hi Michael,
I directed you to the wrong place. Finally being at home I checked the London
Ms and the piece I meant is on Folio 8v (Courante).
There is no direct indication of the a-finger. Actually you won't find
anything about that in any source.
My teacher asked me to solve such passages
- Original Message -
From: Alexander Batov [EMAIL PROTECTED]
To: lute list lute@cs.dartmouth.edu
Cc: Roger E. Blumberg [EMAIL PROTECTED]
Sent: Tuesday, April 26, 2005 4:53 AM
Subject: Re: Widening the net -- Viola da Braccio
By the way, the picture on the page
Herbert Ward [EMAIL PROTECTED] said:
Could he tune the lute
so that it would still be in tune 24-48 hours later?
maybe, it would be hard to do that for a piano, two tunings, maybe
three with some time in between would do the piano.
HOwever, we are neglecting something. Two days is a lot of
Yes, there is a real problem about pitch standards and the string length of
many barouque plucked instruments. 13 course lutes are quite often longer than
the 70.5 cms Ed mentions, and there is a large chamber repertory for such
instruments with flute, so that the lute needs to conform to the
You bring up many interesting questions, Taco.
Yes, it would be confusing to learn continuo in F rather than G, but I do
not think it would be all that difficult for you, as once you learn G, to
transpose to F would not take all that long. Another option would be to
treat your archlute as an
Bernd wrote:
I would like to play something together with a friend who plays
the recorder. Are there any resources on the web for recorder
(or just playable on a recorder) and baroque lute?
Dear Bernd,
I don't know about Baroque, but Schott publishes a nice set of Dowland's
Lachrimae for lute
There is a nice suite by Baron for Baroque lute and flute - I think the
flute part can be played on a recorder in F
Alain
[EMAIL PROTECTED] wrote:
Bernd wrote:
I would like to play something together with a friend who plays
the recorder. Are there any resources on the web for recorder
(or
Would appreciate receiving the name of a good luthier. I am in Westbury, NY
(Nassau County). Have a not-very-good lute with a cracked pegbox. Ideally
would get a new lute, but with two children selfishly demanding a college
education my options are limited. Thanks.
--
To get on or off this
Luthiers avoid working on other luthiers' instruments, as a rule.
The best luthier in tri-state are is Cezar Mateus
http://polyhymnion.org/mateus
RT
From: [EMAIL PROTECTED]
Date: Tue, 26 Apr 2005 20:55:04 -0400 (EDT)
To: lute@cs.dartmouth.edu
Subject: Lute repair
Would appreciate
Dear all,
Recently I have been working on the Huwett fantasia by Robert Dowlands
A varietie of lute lessons. Im trying to find recordings of this
piece but unfortunately I just found two, one from Lutz Kirchof and
another by Nigel North. In both recordings the piece is played as if the
lute
- Original Message -
From: Bruno Correia [EMAIL PROTECTED]
Date: Tuesday, April 26, 2005 9:18 pm
Subject: Huwett
Dear all,
Recently I have been working on the Huwett fantasia by Robert
DowlandsA varietie of lute lessons. Im trying to find
recordings of this
piece but
Some time ago I voiced to Miles Dempster, and later to Paul O'Dette, a
thought about this piece: A seemingly meandering bridge actually contains
the main theme. This idea was apparently new at the time. More I can't tell
at the moment because my copy went with one of the Michael Schreiner lutes
Dear Bruno,
I have no idea about Lutz Kirchof. But as for Nigel, when he recorded the
variety CD, has had an instrument built for the occasion. The book is
actually written for a 9 course lute, somewhat of an oddity. In judging
from instruments at the time that would have been used, they
Hi Michael,
I directed you to the wrong place. Finally being at home I checked the
London
Ms and the piece I meant is on Folio 8v (Courante).
There is no direct indication of the a-finger. Actually you won't find
anything about that in any source.
Thanks Thomas, If I remember correctly,
Yes Elliott,
It certainly does state the theme again in the bridge. Trust you to
find it, even though it leaps octaves.
Miles
On Tuesday, April 26, 2005, at 10:20 PM, Elliott Chapin wrote:
Some time ago I voiced to Miles Dempster, and later to Paul O'Dette, a
thought about this piece: A
For a while I've had the first string on my archlute (64cm in g') in the
lower octave. Worked fine for continuo, but after all I missed the high
notes so I changed back to the high octave. I can live with the life span of
gut 0.40mm at 415 and 0.38mm at 440. One of the John Passions this season
33 matches
Mail list logo
