Rob [EMAIL PROTECTED] schrieb:
Interesting points, Daniel. I'll need to think it through. The comment about
the interval of a (minor) third between the top two courses is true for a
normal 13c lute, but not so for the German Continuo Theorbo, which does not
have the chanterelle.
Yet that
Hi Daniel,
Actually, on the German theorbo there is no high f', so the top interval is
still a 4th, like on other continuo instruments. Also, because the 'normal'
baroque tuning that we have in our minds (a d f a d f) is symmetrical - that
is to say that the tuning of the top three strings
Hi Rob,
Regarding the point of d-minor continuo in Italy, there is in fact other
documentation of its use apart from that of Weiss. There is a source *by an
Italian*, the theorist and composer Pier Francesco Valentini (1586-1654),
who discusses at some length d-minor continuo playing in his *Il
EXCUSE THE CAPITAL LETTERS.
On 26/11/2007, Mathias R=F6sel [EMAIL PROTECTED] wrote:
Rob [EMAIL PROTECTED] schrieb:
Interesting points, Daniel. I'll need to think it through. The comment
about
the interval of a (minor) third between the top two courses is true for
a
normal 13c lute,
Dear Rob and Others,
On 2007-11-26, at 09:44, Rob wrote:
There would of course be no possibility of playing the Italian solo
repertoire on the German instrument, but I personally have no interest
in
learning that repertoire, although I like listening to it.
The Italian solo theorbo
Hi Benjamin. Good to see you contributing to this discussion. I was
interested in your comments in your article regarding Klaus Jackobsen's
thought that the very large Schelle theorbo might have had the first two
strings displaced because of its long string length. Is this the tuning you
use on
The large Schelle theorbo is not, in fact that large in terms of string length
(NB original bridge position is higher than at present and gives an original
string length of only 85/86cm). Because it has a neck for 8 frets (rather than
the 9 or 10 some people go for these days) it does,
On Nov 26, 2007, at 7:20 AM, Jerzy Zak wrote:
...for me more important is the way most people were accompanning
on the lute during XVII/XVIIIth centuries, during the time the d-m
tuning was an obvious choice for solos -- I'm thinking of continuo
songs and chamber music.
...Just
In short, no need to put down an octave.
Which is the whole crux of the matter - down an octave in baroque tuning
would just be duplicating the fourth course. So the chanterelle had to come
off.
Benjamin - I probably misread Klaus's comments. I'm sure he made an amazing
instrument, and
Hello Benjamin and others,
there are many sources for ensemble playing with 11-course lute
before and after 1700 (Bohemian-Austrian repertoire: Weichenberger, von Radolt,
et others).
For continuo there are not that many direct sources, but I want to remind of
Fundamenta der Lauten Musique und
Michael,
I believe that in fact 7c was standard, but they either tuned the 7th course to
F or D on a G lute. The 8c is a convenient way to have both tunings on one
lute, so it is sort of a standard today.
g
Zitat von Michael Bocchicchio [EMAIL PROTECTED]:
People who have purchased lutes
Michael
As an amateur, I was in the position that I felt I could only
justify purchasing one Renaissance lute. I was also hoping to venture
later into 11c French Baroque music.
I therefore had to make a compromise, and chose the 7c Gerle, because
this actual model is used by Jacob
There is at least that print by Simone Molinaro, Venice 1599 (facsimile
available from S.P.E.S.), if memory serves. It is a large collection of
pieces, entirely written for the 8c lute.
--
Mathias
Gernot Hilger [EMAIL PROTECTED] schrieb:
Michael,
I believe that in fact 7c was standard,
On Sunday 25 November 2007 21:58, Mathias Rösel rattled on the keyboard:
Dear Collected Wisdom,
on their CD with duets by de Visee and Corbetta (Naxos), Eric Bellocq
and Massimo Moscardo have recorded two suites by de Visee, totalling 12
movements. Only three of those twelve contreparties can
On Monday 26 November 2007 11:34, Mathias Rösel rattled on the keyboard:
There is at least that print by Simone Molinaro, Venice 1599 (facsimile
available from S.P.E.S.), if memory serves. It is a large collection of
pieces, entirely written for the 8c lute.
A few pieces require a 9 course
On Monday 26 November 2007 12:30, Steven Amazeen rattled on the keyboard:
Hello all,
Is the Barber/Harris site http://www.lutesandguitars.co.uk/ offline?
I have tried for several days, however I keep getting a network error
message.
Thanks,
Steve
To get on or off this list see list
Hello, Steve! How are things with you?
http://www.lutesandguitars.co.uk/ popped right up for me, so it appears
to be running. Do you still have that nice 11 course lute?
ed
At 03:30 AM 11/26/2007 -0800, Steven Amazeen wrote:
Hello all,
Is the Barber/Harris site
Hi Michael,
when I got my first lute in the early 80's, after playing lute music on
guitar since the early 60's, my teacher recommended an 8-course, arguing in
favour of a versatile instrument which could be used for a time span of
roughly the whole 16th century. As you know, course development
Taco Walstra [EMAIL PROTECTED] schrieb:
On Sunday 25 November 2007 21:58, Mathias Rösel rattled on the keyboard:
Dear Collected Wisdom,
on their CD with duets by de Visee and Corbetta (Naxos), Eric Bellocq
and Massimo Moscardo have recorded two suites by de Visee, totalling 12
Dear Mathias,
the liner notes say: Einige der hier eingespielten contreparties sind
Manuskripten entnommen _die sich in Privatbesitz befinden._!
B.R.
G.
- Original Message -
From: Mathias Rösel [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Monday, November 26, 2007
http://www.youtube.com/watch?v=ncPfYJH7cYofeature=related
- Original Message -
From: Omer katzir [EMAIL PROTECTED]
To: G. Crona [EMAIL PROTECTED]
Sent: Monday, November 26, 2007 3:23 PM
Subject: Re: [LUTE] No comment
Please kill me now...
arch guitar...? my cat...
On Nov 26, 2007,
At 06:30 AM 11/26/2007, Steven Amazeen wrote:
Hello all,
Is the Barber/Harris site http://www.lutesandguitars.co.uk/ offline?
I have tried for several days, however I keep getting a network error message.
Seems to be working for me from here.
Eugene
To get on or off this list see list
This subject comes up regularly here.
My two yen:
There is hardly anything written specifically for 8 course that
cannot be played on 7 course. There is far more music for 7 course
than 8 course. 7 course is easier than 8 course.
You just have to have a little awareness of what your 7th is
Only two Visee contreparties are in Paris sources.
There is the wonderful finding tool that Christian Meyer
and his associates are making for our use. It is a
life-time';s work, and far from complete. But for what
it inventories so far (manuscript lute music in France,
Switzerland,
Germany,
From: Arthur Ness [EMAIL PROTECTED]
To: Mathias Rösel [EMAIL PROTECTED];
Lutelist lute@cs.dartmouth.edu
Sent: Monday, November 26, 2007 12:08 PM
Subject: Re: [LUTE] Re: de Visee - contreparties
Only two Visee contreparties are in Paris sources.
There is the wonderful finding tool that
May be the other contrepartie has been ''(re)constructed'' ;-)) ?
Jurek
On 2007-11-26, at 18:08, Arthur Ness wrote:
Only two Visee contreparties are in Paris sources.
There is the wonderful finding tool that Christian Meyer
and his associates are making for our use. It is
- Original Message -
From: vance wood [EMAIL PROTECTED]
To: Ed Durbrow [EMAIL PROTECTED]
Sent: Monday, November 26, 2007 3:05 PM
Subject: Re: [LUTE] Re: Is 8c really the standard?
The only down side to that point of view is that occasionally you have to
re-tune the seventh course
Dear Alexander,
Many thanks for your table showing the temperaments arising from the
fretting of the Palmer orpharion.
Would it help if you compiled the table with the Courier font, like I do for
musical examples? It is a monospaced font, so you shouldn't get variations
from one computer to
Dear Michael, G=F6ran all:
While G=F6ran gives an eloquent summary of our received notion of the
development multiple courses on lutes throughout the 16th century, there is
evidence that the matter was not quite so clearly defined. No surprise.
H. Colin Slim, in his excellent article,
Dear All,
Unlike many of the contributors to this thread, I don't have a problem with
8-course lutes. They suit Terzi and Molinaro, of course, but you can use
them to play earlier music like Capirola, and to some extent later music
where nine or ten courses are required. If you want to buy
I agree fully with Stewart. Although there is more music for 7 course and
9 course lutes as compared to 8 course lutes, an 8 course is a good
compromise. I have that very instrument, an 8 course.
A great majority of the music for which I use that instrument is for 7
course, but it is so
A lowly piece of mine (AKA #111 at http://www.torban.org/sarmaticae) will be
performed by Angelo Barricelli in his own guitar transcription, in Turin on
the 30th of November (there is a poster at
http://masaccio.livejournal.com/59097.html), if
there is any potentially interested lutenetter in
Right on, Ed! The lute that I call a double 7 (It's NOT an 8 course!).
A great majority of the music for which I use that instrument is
for 7 course, but it is so very convenient to have both a low F
_and_ D, so I do not have to re-tune the 7th course. I also
sometimes put octaves on both
Free Lute Classes 2007-2008
Voices of Music is rolling out its free lute classes for 2007-2008
The classes are directed by David Tayler, additional faculty are
brought in for some topics.
These classes are absolutely free; however, enrollment is limited.
Wednesday December 19 2007
The Art of
PS Please reply off list if interested. Please indicate which class
you would like.
my email
[EMAIL PROTECTED]
We are in Northern California.
dt
At 05:50 PM 11/26/2007, you wrote:
Free Lute Classes 2007-2008
Voices of Music is rolling out its free lute classes for 2007-2008
The classes
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