I played for some time an instrument with doubled first course, the
spacing was very important and the sound was not good above an F.
An important concern is the long trills, they rattle a bit with the
thin strings.
I only really prefer it on bass lute, theorbo baroque mandolin.
dt
I don't think meantone is the reason for the gut frets, I think they
must have liked the sound.
Just conjecture.
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The beginning of this clip focuses on Carlos Paredes' right hand.
http://youtube.com/watch?v=gKnO_RwGhss
On Nov 2, 2007, at 11:38 AM, Ed Durbrow wrote:
Yes, I got your reply yesterday. Very interesting. Did you see my
response? It went like this:
Thanks Doc,
Ah ha! So the interesting
On Sunday 04 November 2007 23:10, Edward Martin rattled on the keyboard:
Thanks for pointing this out, Art. As you know, I happen to live in Duluth
(Minnesota, not Georgia), as does Dan Larson.
As I am a lutenist who does happen to have recordings, it bothers me when
my recordings are copied
a site devoted to Carlos Paredes with other views of his technique:
http://www.cidadevirtual.pt/cdl/carlosparedes.html
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Sarge Gerbode's site was a useful resource - does anyone know why
it's disappeared?
Andrew
On 5 Nov 2007, at 08:25, LGS-Europe wrote:
for some songs (campion, dowland etc.)
but they the site is not working for the past few days i need to
download tab+lyrics to a new project.
i really
Well, I've finally joined the realm of the giraffe wranglers. Behold
my new Archlute, courtesy of Andrew Rutherford:
You obviously enjoyed it, and so did I. That is a nice one. I have been
surprised to see, that you hold the lute on a strap and with your right
arm. It look like you're
- Original Message -
From: Ron Andrico [EMAIL PROTECTED]
and the fact that the piece really needs reconstruction does not help the
matter.
Needs reconstruction It lacks a rhythmic sign in ms. 4 and a chord at
the end of ms. 20 in the facsimile, I would hardly call that needs
Beautiful instrument, Daniel! Congratulations.
It's good to hear Zamboni being played. I play a few of his pieces
on the 10-course, occasionally having to transpose the basses up an
octave. In my admittedly brief experience of performing a couple of
those Zamboni sonatas, I've found that
At 05:50 PM 11/4/2007, vance wood wrote:
You cannot argue with a Guitar player about fixed metal frets, especially
if their only exposure to the Lute is at a distance. They have to have
first hand experience with gut frets and the fineness of the sound before
they start to grasp the
Needs reconstruction It lacks a rhythmic sign in ms. 4 and a
chord at the end of ms. 20 in the facsimile, I would hardly call
that needs reconstruction!
Everyone is, of course, free to determine their own needs, but for
most people things like big 4-3 cadences that resolve on the 4th
At 06:03 PM 11/4/2007, Daniel Winheld wrote:
Not all guitarists are harmonic bone heads. This guy has guitars with
interchangeable fingerboards for different temperaments- and there is
an Iranian guitarist (forget her name) who has jusdiciously placed
tastini on her guitar for Persian microtonal
Any recommendations for Xmas music for violin/ viola da gamba and Ren
lute/B. guit? Gig coming up in a department store in December that
calls for a few Christmas tunes.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or.jp/edurbrow/
To get on or off this list see list
On Monday 05 November 2007 16:20, Ed Durbrow rattled on the keyboard:
Any recommendations for Xmas music for violin/ viola da gamba and Ren
lute/B. guit? Gig coming up in a department store in December that
calls for a few Christmas tunes.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
I should mention that this is Japan and will be a very public,
general audience. Chestnuts only, I'm afraid. Just thought someone
might already have some arrangements made that they found were real
crowd pleasers. Like Guy said, I'll probably find something I can
play and double the treble
Dear Collective Wisdom,
I need some advice on the neck section of an Italian 6 course lute.
Last week I met in Milano a lutemaker who made a copy of the well-known
Magno dieffopruchar lute held in the J A Beare Collection in London. I was
together with a well known Italian
Play it like popular guitars are (and often were) commonly played: ie with the
neck cradled in the V of your hand between the thumb and index finger. Indeed
as violinists do.
Luca Manassero [EMAIL PROTECTED] wrote:
Dear Collective Wisdom,
I need some advice on the neck section of an
I played for some time an instrument with doubled first course, the
spacing was very important and the sound was not good above an F.
Exactly my experience- Barber-Harris vihuela, 64.5 cm sl, doubles
worked at f, no higher- (instrument as a whole craps out down at e,
sounds best somewhere
will there be two of you, swopping instruments or are
there four of you?
shame about the costume - what's that wire running up
your arm for?!?
- bill
--- Ed Durbrow [EMAIL PROTECTED] wrote:
Any recommendations for Xmas music for violin/ viola
da gamba and Ren
lute/B. guit? Gig coming up
Interesting- my experience has been the exact opposite. My hybrid 6
course (Arnault de Zwolle body mated to a typical late 15th/early
16th century 8 fret 6 course fingerboard) originally had a very thin
neck; extremely uncomfortable (hand cramped up) but only after about
20 minutes or so of
Likewise. My alto is based on the Gerle (scaled down to 57cm). It has a
thick neck, very close to a semicircle in cross section, and is very
comfortable to play.
Guy
-Original Message-
From: Daniel Winheld [mailto:[EMAIL PROTECTED]
Sent: Monday, November 05, 2007 8:25 AM
To:
Dear all,
I have the Magno dieffopruchar, Venice, c.1550 (collection of J A
Beare Ltd, London) by Stephen Barber, and I very much like the shape
of of the neck of that instrument. I suppose Stephen made it just as it
is in the original. And as Martyn wrote, the shape of my left hand
around
I wrote
I have the Magno dieffopruchar, Venice, c.1550 (collection of J A
Beare Ltd, London) by Stephen Barber, and I very much like the shape
of of the neck of that instrument. I suppose Stephen made it just as it
is in the original. And as Martyn wrote, the shape of my left hand
O.K. Ron,
I took the time to compare your version with the original, because this is a
piece close to my heart.
The original is for 7 courses. You rearrange it for 8 course lute. You
introduce dotted notes in places before where the facsimile seems to have a
dot over some ciphers. I don't quite
Dear Luca,
There is an excellent article by Stephen Barber on the
Beare collection Dieffopruchar lute in 'The Lute' (Lute
Society Journal) 1982, volume XXII Part 2. I believe that
his drawings of the original continue to be available, and
they are likely to be the starting point used by makers who
There's an edition with Christmas songs for mixed instrumental by Ton
Koopman (yes, him). I'm afraid mostly Dutch songs, nihongo kunai. I'd go for
some English carols and Praetorius, easy for both performers and audience.
David
- Original Message -
From: Ed Durbrow [EMAIL PROTECTED]
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