Le 14 janv. 08 à 18:12, Rob a écrit :
Dear Anthony,
I think you'll find the bass register below the 7th course more
problematical than the treble. Not only the sound quality of the
thick-gut
fundamentals, gimped or otherwise, but also the intonation compared
to the
octave neighbours.
Satoh appears to have found quite a good compromise. Unless I am
mistaken, he appears to have adopted the Dutch/English/French? 12c
Lute, to partly get round this problem. On this, the 12c and 11c, on
the second neck, are quite long, while the other strings are somewhat
shorter, thus allowing
Rob, please do not think I am criticising yourself or your lute, or
Martin's work. I am definitley not, and I hope any full reading of my
message will show that.
I am very much interested in the issue you raised, for two separate
reasons : (1) I like gut and I hope to be able to use it, and
Unfortunately my work it's in Italian only. It was written 12 years ago
and I'm now working again on it, for a printed version.
What you read is just a draft copy.
Pretty good for a draft copy, I'd say. Thank you for sharing this with us.
David
David van Ooijen
Thank you, Diego. I hope someone translates it into other languages as it
looks very interesting. I can only understand a few words here and there,
and it is very easy for me to misunderstand, so I will wait for some kind
person to translate it into English. I'm constantly embarrassed about my
[EMAIL PROTECTED] écrit:
Banchieri in his Conclusioni nel suono dell'organo (Bologna 1609), p.
59, gives a G tuning for the chitarrone, with the
reentrant tuning for the first string only.
From my homepage (under 'docs tab') you can download a pdf copy of my
dissertation about the chitarrone
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
Are
PS: I
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
You can find
Hello Anthony, Martin and all,
Not wanting to add any more info to the full discussion that has been going
on here, I would like to ask a
general question on the string issue: How often does one come across frets
being stopped on courses 11, 10, 9, 8 or 7 ?
Sure there will be examples, but what I
On Jan 16, 2008, at 3:21 AM, Martyn Hodgson wrote:
As you imply: I guess it's because they can't be bothered to
learn to read on an A instrument
A lot of people prefer to work in those areas they're most familiar
with. We have modern editions of Italian music in French tablature,
On Jan 15, 2008, at 1:54 PM, Rob wrote:
so why do people choose to tune to G?
Is it purely because they already think 'in G', or is there another
reason?
G tuning (with the second course at lute pitch) seems to have been
common in England. Mace wrote that the theorbo was just a big lute
I'm wondering how many of the early publications for a 'theorbo' (various
spellings) or chitarrone were actually for large 10c bass lutes with
re-entrant tunings?
I wonder about this too! As far as I know, Kapsberger's Libro primo for
chitarrone is for a 10-course instrument.
You can
Are Vidar Boye Hansen [EMAIL PROTECTED] schrieb:
be that the lute in question here actually is a 10/11-corse liuto
attiorbato?
If that means, 1st and 2nd courses normal (like on the lute), the answer
is no. All pieces of Libro prima require 1st and 2nd courses down the
octave. (Nevertheless,
be that the lute in question here actually is a 10/11-corse liuto
attiorbato?
If that means, 1st and 2nd courses normal (like on the lute), the answer
is no. All pieces of Libro prima require 1st and 2nd courses down the
octave. (Nevertheless, one might want to discuss one or another
Lex,
However, some players may have been able to realize an accompaniment,
departing from the bass (and losing considerably in volume, while plucking
part of the harmonies).
I cannot think of guitar acompaniment without the strumming. The guitar
doesn't have basses like the lute or the
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