So gentleman,
if there is a minimum regarding tools needed to get started
such as:
work bench (any particular size?)
carving tools
measuring tools
planes
what would that minimum be?
Best Regards
TW
_
Share life as it
Dear Dan, Din, Jon, Rob etc,
I have nothing against solid moulds as this shows
http://www.vanedwards.co.uk/moulds.htm
In practice I use skeleton moulds for lutes with fewer than 19 ribs
and solid moulds for those with more. I find the skeleton better for
aligning ribs while building and they
Hi guys and girls,
Long time ego, when i was young and beautiful, i had a web site in my
bookmarks with all kind of form analysis for dances and stuff, both
harmonic and rhythmic analysis.
Now, I'm much older and uglier and I can find this web site.
All i need is a basic form of
If you mean the common ostinato pattern such as Romanesca, Ruggiero,
Passamezzo, etc., while we today can perceive these as harmonic patterns, in
the 16th century they were generally expressed as linear bass patterns.
There is a PDF file at
Paul O'Dette, lute
Ellen Hargis, soprano
Music of Monteverdi, Sances, Strozzi, and Castaldi
Saturday, March 8, 2008 at 8pm
First Church in Cambridge, Congregational in Harvard Square
Tickets: $25, $38, $49, $64; $5 off for students seniors
Free pre-concert talk at 6:30pm - Free
But it's difficult (but not impossible if you build a jig for
each rib) to build the more complex shapes which are not
semi-circular in cross-section and only a few of the historic
surviving lutes are like that.
-Original Message-
I think one can build a lute with no semi-circular
Thanks; 'tis being mulled over.
RT
Please make a proper recording - this is beautiful stuff.
Rob
www.rmguitar.info
-Original Message-
From: Roman Turovsky [mailto:[EMAIL PROTECTED]
Sent: 05 December 2007 18:33
To: BAROQUE-LUTE
Subject: [BAROQUE-LUTE] clips from the Nov.9 concert
Hi David,
Thanks for your response to my query - to me it does make a lot of sense.
Compared to the process Rob outlined, it does involve a lot more drawing,
and plenty of accurate cutting out, but all working to well-defined
parameters... I guess it appeals to the engineer in me!
Best regards
It's not exactly what you're looking for, but comes close.
Fuzea Editions of France has a (cheap at 17,50 euros) edition of 50
Standards of the Renaisance and Baroque eras. Theme + bass and figures.
Variations of the themes and variations on the themes. Some in different
keys. Very convenient
On Sunday 02 December 2007 18:33, Daniel Winheld rattled on the keyboard:
One thing I haven't seen anyone address re the swanneck- fingered
accidentals on courses 9 - 11. How are you folks dealing with these
situations? Up an octave, or eliminate those pieces from your
repertoire? Dan
I have
In some cases, yes. Certainly theorbos have better projection when
they have flattened cross-sections. And baroque lutes are noticeably
non-circular in section. I think it's geometrically impossible to
make these kind of shapes without twisting some of the ribs.
David
At 23:12 +0200 5/12/07,
Troy,
It does depend on what method you will be following. If you do go with DvE's
CDROM, he includes a whole section on the minimum kit you need for his
method. He also give a lot of advice and hints on using various tools in
various tasks. Getting and keeping your tools sharp is probably one of
Can I add, most of the lutes I've studied differ in their profiles from plan
view to elevation as well as having a non semi-circular cross section.
Twisting is inevitable.
Yes one can build without twisting the ribs but then your plan and
elevation profiles would half to be identical, which
Dear Arthur,
To add to your collection:
1) The introduction to Kapsberger's Libro Quarto loses some very important dots
in the SPES facsimile.
2) There is a note missing in the Minkoff facsimile of Campion's guitar music.
I can provide chapter and verse, if you like.
Best wishes,
Stewart
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