Dear all,
this is to inform or remind you that there will be a playing day in Bochum,
Germany on
Saturday, 8th April.
We start at 9.30 am in the local public musicschool and close the day with an
informal
workshop concert at 6 pm. Plenty of time for music, chats, coffee and a nice
lunch.
So what makes a lute?
The main thing which confuses could be that if we/I am/are speaking of lutes I
think of double-strung historical european instruments with a corpus in shape
of a pear.
Although I would count the Oud, Saz, Shamisen but also the mandolins and - yes
- the Wandervogellute
Dear Stewart,
To be honest I don't know what edition our director got this from.
He's transcribed his score into a music program and printed it out in
larger type without all the incidental comments of the publisher
and/or composer and that's what we're singing from. He mentioned the
Nothing beats trying out different instruments yourself first. A man
of many lutes who lives in Tokyo is Ed Drubrow: http://
www9.plala.or.jp/edurbrow/
Going to local society meetings can also be a great resource, and
beginners are typically welcome and encouraged. Here is one in
Japan:
Now of course if you are from Tokyo, Ohio (not just Ohayo Gozaimashita),
ROTFLOL!
Thank you, very funny.:-
David
David van Ooijen
Email: [EMAIL PROTECTED]
Http://www.davidvanooijen.nl
To get on or off this
Welcome to the world of Early Music and the Lute. I don't know whether I am
giving you a consensus on what Lute to obtain, there are as many opinions as
there are Lute players. However logically, an 8 course Lute makes the most
sense. Early Lute works were written mostly for a 6 course
On Mar 18, 2006, at 3:17 PM, Christopher Witmer wrote:
My first question:
Assuming one will eventually be playing variety of lutes, is there any
consensus on a best type of instrument with which to begin?
This question comes up periodically here and you may get a bunch of
follow up
In a message dated 3/12/2006 6:42:34 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
I've often heard that those glued-on high frets are a modern invention.
Is that still the prevailing theory?
Hello Sean:
Yes, I heard a lecture at Lute Society in Feb2002 by Tony Bailes and he
[EMAIL PROTECTED] wrote:
In a message dated 3/12/2006 6:42:34 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
I've often heard that those glued-on high frets are a modern invention.
Is that still the prevailing theory?
Hello Sean:
Yes, I heard a lecture at Lute Society in
--- Stuart Walsh [EMAIL PROTECTED] wrote:
those very high passages in Spinacino would
suddenly go into oud mode?
disaster! would sound like the instrument had
suddenly lost its voice. even with tie-on frets,
plucking an oud produces a mediocre sound - nothing
as rich and resonate as when
In a message dated 3/18/2006 12:31:13 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
--- Stuart Walsh [EMAIL PROTECTED] wrote:
those very high passages in Spinacino would
suddenly go into oud mode?
disaster! would sound like the instrument had
suddenly lost its voice. even
Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and alternately
wondered if
Sean Smith wrote:
Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and
I have just finished adding Hans Gerle's instructions to the Fret
Placement Spreadsheet (
http://www.cs.dartmouth.edu/~lsa/download/index.html#frets ).
Even at the relatively late date of that reference (1532), he says,
...*if* you wish to add an eighth fret..., and makes no mention of any
Dear Stuart,
Thanks! I've been tuning my descant lute to C and it sound like an easy
jump over to the guittern --when I get around to getting one. That
tuning makes a lot of sense. Do I understand the lowest string to be a
5th below its adjacent course? Btw, are these unison tunings? Is that
On 3/19/06 8:02 PM, Stuart Walsh [EMAIL PROTECTED] wrote:
In a message on the medieval lute list, Jean-Paul Bazin suggested that
Crawford Young's students tune their gitterns: G,D,G,C so the top string
is a fourth above a G lute. That puts the lowest C, often the 'tonic',
on the fifth fret,
Thanks Daniel,
It seems that instruments with *parallel* strings often got more frets
on the neck. I'm thinking of guitars but this extends to citterns too.
Another parallel is that these are strummable instruments. Am I reading
too much into this?
Talking to Andy Hartig (shameless plug:
In a message dated 3/18/2006 2:35:52 P.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
aren't there chord shapes up
there in early books that request L's and K's? For these I wonder if
there were bass or long tenor lutes that had, say, 10 frets on the
neck. The longer string length
Sorry, the files were semi-stale. I posted the newest ones
just now - dated 2006-03-18. You might need to
refresh your web browser or re-download.
-- David
David Cassetti wrote:
All,
I've reposted a transcription of Morales: Puer natus est
I fixed it based on a different score (thanks Dr. Ness
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