I haven't received any messages for ages on this list, but I have a feeling
some of you are lurking out there, so here goes.
I have several reference books dealing with historic guitars which refer to the
setting of MOP and ivory shapes around rosettes "set in black mastic". A
little research
On Friday, Mar 16, 2007, at 10:35 America/Los_Angeles, Arthur Ness
wrote:
> And do bows get larger as the instrument for which they
> are intended get larger? Why not?
At least with modern orchestral bows, for each larger instrument the
diameter of the stick increases but its length decreases
On Mar 16, 2007, at 5:56 PM, Herbert Ward wrote:
> I've heard that lutes, due to the thinness of the wood
> in their soundboard, do not improve with age like
> violins, and that, in fact, an old lute will have an
> OK bass and treble, but be weak in the middle courses.
I'm sure that depends on a
On Mar 17, 2007, at 6:56 AM, Herbert Ward wrote:
> I've heard that lutes, due to the thinness of the wood
> in their soundboard, do not improve with age like
> violins, and that, in fact, an old lute will have an
> OK bass and treble, but be weak in the middle courses.
After hearing Jacob Lindberg
I had heard similar remarks; but I was told that the contrast was
between flat soundboards and curved ones (rather than thin ones).
However, when, in London at the UK lute meeting, I heard Lindberg's
ancient Rauwolf that has a soundboard dating from the 17th century or
so, it seemed this mig
I've heard that lutes, due to the thinness of the wood
in their soundboard, do not improve with age like
violins, and that, in fact, an old lute will have an
OK bass and treble, but be weak in the middle courses.
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Ed/All
Not wishing to invoke a discussion on placing the lute thru' modern
electronic wizardry, as I may be accused of heresy by the
traditionalists :-) I've got my 8 course tuned so that each string in
the course is tuned an octave apart rather than unison, with my PH3 I
have rate set at half, de
That's correct. You use a French bow in much the same way as a cellist. You
hold the German bow underhanded, a bit like a Viol player (although you hold
the frog, not the hair). I always preferred the German bow, but at the time
at least, my preference was not widely shared. Most bassists used Fren
Yes, there are bass violins. I played in an orchestra
once in which the first bassist had a bass violin, with
the 90 degree shoulders. The player had to stand on a
box to play it.
Aren't the different types of modern bass bows called
French and German, the French being held like a violin
bow, but
Because of the nature of two strings tuned to unison, the lute has a
kind of built in phase/pitch shifting.
On Mar 15, 2007, at 8:01 PM, Narada wrote:
> Thought I'd give this idea a whirl so, put a clip mic on my lute
> headstock and ran it thru my FX rig. Sounds good with a phase shifter,
> From: "Alice Renken" <[EMAIL PROTECTED]>
>> The root word here is "viola". The diminutive
> ending is "ino", giving "violino", "little viola".
Meaning small viol, of course.
> "ello" is an aggrandizing ending, so "violoncello" is "big viola".
This is a bit backward. "Ello" is a diminutive, an
Dear Howard,
The double bass I used to play many years ago had a violin-type
body. At least, the back was flat (not carved), but the shoulders
didn't slope - they came into the neck at 90 degrees. The tailpiece
was originally made for a three-string instrument, and later adapted
to accommodate fou
Probably the most superficial and tedious part of the entire lute
repertoire.
RT
From: "Taco Walstra" <[EMAIL PROTECTED]>
To: "BAROQUE-LUTE-LIST"
Sent: Friday, March 16, 2007 10:47 AM
Subject: [BAROQUE-LUTE] saint luc edition
>I just got a paper with new publications from the music shop saul g
I just got a paper with new publications from the music shop saul groen in
amsterdam. They list a new book with collected lute works by Saint Luc, 330
pieces, 300 pages. Anybody familiar with the edition?
Taco
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13 course Baroque Lute by Martin De Witte, 1999
Vlissingen. Holland. Maple Back. String Length
69/74cm. Price 4700 EUR
This is a very well set up baroque lute in perfect
condition. We used it for our projects and recordings.
Very optimal action, fingerboard profile is really
nice. Checked it with
13 course Baroque Lute by Martin De Witte, 1999
Vlissingen. Holland. Maple Back. String Length
69/74cm. Price 4700 EUR
This is a very well set up baroque lute in perfect
condition. We used it for our projects and recordings.
Very optimal action, fingerboard profile is really
nice. Checked it with
That is correct, Bottesini was known to play a three string bass. If memory
serves, he often tuned his instrument in 5ths rather than 4ths which would
have required a lot of shifting between positions especially for his solo
works. Many of the older double basses in use today were originally t
there's also the vihuela de penola - played with
plectrum - but a rose by any other name is ... thorny.
--- gary digman <[EMAIL PROTECTED]> wrote:
> Is not the Italian term "viola" the equivalent of
> the Spanish "vihuela' and
> the Portugese "violao"? And, as I understand it,
> these terms were
Is not the Italian term "viola" the equivalent of the Spanish "vihuela' and
the Portugese "violao"? And, as I understand it, these terms were origially
applied to any stringed instrument. Hence, in Spain a plucked instrument was
a "vihuela de mano" and a bowed instrument was a "vihuela de arco". Th
Well, yes, I guess. I am a bassist as well as a lutenist ( lutist, luter, etc )
and viol player ( gambist, violist, etc.) and guitarist ( yes, I see no
conflict in playing both lute and guitar ) and occasional banjoist ( banjist?
). My understanding was that the double bass was indeed descended
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