I take that for a yes. You'll find three jpgs of templates and a pdf of the
descriptions inside
http://perso.wanadoo.fr/tony.c/fretful/mandothingies.zip
Tony
- Original Message -
From: EUGENE BRAIG IV [EMAIL PROTECTED]
To: Tony Chalkley [EMAIL PROTECTED]
Cc: lute@cs.dartmouth.edu
Interesting (and efficient) that the template for the neck is incorporated
into the pattern for the soundboard.
Leonard Williams
On 5/28/05 6:51 AM, Tony Chalkley [EMAIL PROTECTED] wrote:
If anyone is interested I've just uploade the best scans I can do of rather
badly printed not very
In a message dated 5/27/2005 7:10:12 AM Eastern Standard Time,
[EMAIL PROTECTED] writes:
I don't know whether any 16th century lute music involves tuning the 6th
course down a tone. Perhaps someone on the list can tell us.
Plenty of examples, the earliest being several piece in the Capirola
Only just got round to checking this site. To be fair to them, they're not
luting up guitars as much as they are trying to improve on those black
plastic tincan cover things that are meant to stop feedback. A more lutey
insert could look out of place on a Dreadnought, and I'm not sure that
There is a book showing all of Stradivari's moulds, and templates, and also
his tools. When I was there, all they had left, were versions in Italian,
for 20 Euros.
http://www.comune.cremona.it/doc_comu/mus/mus_stradivar.html
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message
After reading Mr. Lundbergs book several times I have come to the conclusion
that he must be correct. He claims to have examined actual instruments that
all show the same asymmetry, the neck cocked toward the base side of the
Lute. He goes on to explain that the body does indeed have a center
This post reminded me of something I thought might be pertinent and knowing
no other post upon which to hang it I chose this one. You mentioned the
Ancients and this brought to memory something I saw demonstrated on a
documentary concerning the Parthenon in Greece. It seems this building is
not
I realize the argument can be made that the instruments have become warped
and twisted over time but knowing wood as I do, if that were so, there would
be evidence in a dramatic distortion of both the treble and base sides of
the bowel.
That distortion could lead to perforation, especially
++Psychoacoustics experiments on human subjects have demonstrated
that pitch discrimination is most sensitive in the frequency band that
occurs
in the middle of the range of human hearing (including middle C).
The resolution falls off considerably at both ends of the range. Humans
find it much
++Psychoacoustics experiments on human subjects have demonstrated
that pitch discrimination is most sensitive in the frequency band that
occurs
in the middle of the range of human hearing (including middle C).
The resolution falls off considerably at both ends of the range. Humans
find it
One of my music teachers once stated that women and children are unable
to hear a note below bottom D (on a guitar). So, presumably, if a man
sings bass, they wouldn't hear him!
One of my friends is a sound designer, and he said some low infrafrequencies
he used in a soundtrack sent women
Vance said
The point here is that the
use of asymmetry was to create the illusion of symmetry.
Why would anyone want the illusion of symmetry, when one can have the
real thing? Stradivari obviously thought very highly of symmetry, since all
of his moulds are symmetrical.
Michael Thames
Plenty of examples, the earliest being several piece in the Capirola lute
book.
Kenneth Be
Glad this question came up, as I'm confused about this. I can see in for
instance in Padonana by Capriola is pretty straight forward, but what about
a Pavana alla Ferrarese by Dalsa, that indicates
I haven't been taking in a lot of this stuff, but looking at the plans, any
assymettry in the body/soundboard shape looks fairly minor, and the question
really arises with the neck. Isn't this simply a question of the number of
strings, as with the theorbo? The 'ribbon' (for want of a better
Dear Vance,
I can see that you are looking for what might have been an interesting
analogy
here, but the situation with Greek columns is not quite the same as the
issue
with lutes. As I understand it classical columns do have bilateral symetery
but
their shape from top to bottom is slightly
I haven't been taking in a lot of this stuff, but looking at the plans,
any
asymmetry in the body/soundboard shape looks fairly minor,
From my experience the discrepancy is more than minor, enough so, that
it has made me wonder. Then again, some lutes seem to be very symmetrical.
Dear Michael,
Dalza uses a tuning where both the fifth and sixth
courses are tuned a tone lower than normal - see
folio 27v of his book where the instructions
are included at the beginning of the piece.
Best wishes,
Denys
Thanks Denys,
I only have a few Xeroxed copies of some Dalsa.
Ken--
None of Mudarra's pieces for vihuela (at least not the first 51) in
his Tres Libros requires a seventh course or a down-tuned sixth course. His
6 pieces for four course guitar require two different tunings: temple viejo
(Bflat f a d) and temple nuevo (c f a d). Played directly from
De Rippe does it, too. I do it occasionally, when playing 7-course music on
my 6-course.
David
In a message dated 5/27/2005 7:10:12 AM Eastern Standard Time,
[EMAIL PROTECTED] writes:
I don't know whether any 16th century lute music involves tuning the 6th
course down a tone. Perhaps
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