Just a reminder about LSA West. There's still time to sign up. We have a great
faculty (Ray Nurse, Steven Stubbs, Pat O'Brian, and Bob Barto). We will have
courses on a range of topics for both ren and baroque players at all levels of
expertise plus a lutebuilding course taught by Grant Tomlinso
About the relish:
It may not have been clear in my posting that the note above the
written note is plucked with the right hand as usual, and the written note
is lightly plucked with the left hand finger as the latter is pulled from
the strings.
Leonard
To get on or off this list see lis
>Geometrical drawing of the whole front leads to template >for one half, by
>definition reversible, based on the centre line/joint of the >front...
Only in a perfect world If one locates the center line using
plans from historical lutes, making a template from one side, then flipping
i
Steven--
I haven't seen any responses posted to your query, so I'll give it a
try. I'm using Stanley Beutens' "Meaning and Performance of Ornament Signs
in English Lute Tablatures".
If the dot before a note affects a fretted note, it is surely a
"fall", which is called a "hammer o
Geometrical drawing of the whole front leads to template for one half, by
definition reversible, based on the centre line/joint of the front...
- Original Message -
From: "Michael Thames" <[EMAIL PROTECTED]>
To: ; "Tony Chalkley" <[EMAIL PROTECTED]>
Sent: Tuesday, May 24, 2005 9:31 PM
Subje
>I think that we all try to mirror the left and right (unless >there is a
good
>reason not to) - I'm talking of outline, not barring, bridge, >etc., but
for
>some reaon, the wood doesn't always share our aims. >Moreover, the
templates
>I have been taught to use are _always_ half the shape, to >avo
>can reflect the difference in tension between treble and >bass. But what if
>you apply the symmetry question to only the body and the >top without
taking into
>account the internal structure and bridge? Then is there a >reason for
asymmetry?
The bridges on all lutes are asymmetrical, that
>++Yes, this is a nice design, but too large for me. I >assume you mean
symmetry
>with respect to the plane of reflection perpendicular to the >top. What
would be the
>harm in making the right side the mirror image of the left? >Is there some
advantage
>to an asymmetrical body?
Marion, actually
>...and bridges (especially those that predate saddles), (in >most cases)
>internal bracing, string positioning in relation to the >soundbox
>(especially if neck extensions and extra pegboxes/riders >are involved),
>etc. All things considered, the profile of the >soundboard/soundbox can
>strive to
Dear Marion et al.,
- Original Message -
From: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>
To: "Michael Thames" <[EMAIL PROTECTED]>
Cc:
Sent: Tuesday, May 24, 2005 8:24 PM
Subject: Re: symm/asymm & perfect/imperfect
> with respect to the plane of reflection perpendicular to the top. What
woul
At 03:01 PM 5/24/2005, Dr. Marion Ceruti wrote:
>...But what if
>you apply the symmetry question to only the body and the top without
>taking into
>account the internal structure and bridge? Then is there a reason for
>asymmetry?
I think so, and the only reason for that single plane of symmetry
That is right! (Eugene always knows!!) Any asymmetry at the nut must be
reflected in a similar asymmetry at the bridge, with or without a saddle.
However, before the bridge is installed also inside the body, the bracing
can reflect the difference in tension between trebble and bass. But what if
you
At 02:24 PM 5/24/2005, Dr. Marion Ceruti wrote:
>++Yes, you are right when applied to the lute body which can have
>a plane of symmetry, this part can in theory be completely symmetrical
>with respect to that plane. It is the nut and peg box that break the
>symmetrical
>pattern...
..and bridges
-Original Message-
From: Michael Thames <[EMAIL PROTECTED]>
Sent: May 24, 2005 11:09 AM
To: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>,
guy_and_liz Smith <[EMAIL PROTECTED]>,
LUTELIST ,
Manolo Laguillo <[EMAIL PROTECTED]>
Subject: Re: symm/asymm & perfect/imperfect
> When it comes to >the physical
>construction of musical instrument, high symmetry means >something
relatively boring and the
>lowest symmetry possible is necessary to construct an >instrument, such as
a lute, that is designed
>to emphasize the different roles of the left and right hands, >respect
"Perfect symmetry" is a term that is too vague to use in scientific
descriptions. I don't know
what it means unless it refers to the sphere, which allows all possible
symmetry operations.
It's not that highly symmetric objects don't exist in nature, nor does it have
anything to do with
the secon
>Crystals are only symmetrical to a point. It's a >convenient and reasonably
>good approximation, but >perfect symmetry runs afoul of the second law of
>>thermodynamics, leading to things like point defects >and dislocations
OK, so I'm getting the idea that perfect symmetry does not exist in
At 03:41 AM 5/24/2005, [EMAIL PROTECTED] wrote:
>Copies of this book can be ordered at
>http://www.hd01.com/cremonaviolins/english/ContactNav.asp for 12 , plus
>delivery fees.
>I have called them and the book is available
Thank you, Marcello.
Eugene
To get on or off this list see list info
Marion,
Thank you for your response to my earlier email (below). Unfortunately I seem
not to have made myself entirely clear - for which I'm sorry.
The point I was trying to make was that if we are serious about Historically
Informed Performance(HIP), then features such as technique, inclu
Copies of this book can be ordered at
http://www.hd01.com/cremonaviolins/english/ContactNav.asp for 12 , plus
delivery fees.
I have called them and the book is available
ciao,
Marcello
> Marvelous. Do you have the publisher of this text on hand? Do you know
> if it's still available?
To g
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