Although there are scatterred references to the numbering of the
layers in the Elizabethan period, I think the phrase seventh heaven
derives more from the Islamic and Cabalist traditions.
dt
At 05:45 PM 5/31/2008, you wrote:
On May 31, 2008, at 6:25 AM, [EMAIL PROTECTED] wrote:
At least in
Ed
This topic is raised form time to time on the list. Here is the last
thread:
http://www.mail-archive.com/lute@cs.dartmouth.edu/msg17862.html
I think we are gradually getting there.
Anthony
Le 1 juin 08 =E0 02:45, Ed Durbrow a ecrit :
On May 31, 2008, at 6:25 AM, [EMAIL PROTECTED]
Strumming:
If we think of it; they thought of it.
Whether they liked it or not is hard to say.
Perhaps the answer lies in the distribution of table tennis rackets
(or bats).
For example, people debate whether seven courses were used early on.
And the confusing thing, is that the pros must have
Are Vidar Boye Hansen [EMAIL PROTECTED] schrieb:
So its e-minor tuning, then?
Otherwise, it was called French flat: C - D - E - F | G - A // B - e - a
- c' - e' - g'.
Of course! I forgot that French flat was Thomas' favourite.
Kenneth Sparr's article has a list of tabulatures for
damian dlugolecki [EMAIL PROTECTED] schrieb:
Hello Mathias, The concept of this lute is to be able to use the
same
diapasons, of gut, for the lower courses.
... This is one of those concepts that
reaffiirms the notion that the lute was strung completely in gut.
BTW, the Mest lute had
Reusner, Esaias, Neue Lauten-Fruchte 1676. In the
mannuscript additions in the copy now housed at Staatsbibliothek
Preussischer Kulturbesitz, Berlin (Mus.ms. 18380) are pieces for a
12-course lute.
Yes, on p. 58 (i. e. fol. 27v) starts a suite in D major. At some
places, a 12th course is
David Tayler [EMAIL PROTECTED] schrieb:
Although there are scatterred references to the numbering of the
layers in the Elizabethan period, I think the phrase seventh heaven
derives more from the Islamic and Cabalist traditions.
dt
You can colloquially say in Hebrew ba-raqîa ha-shvi'î (in
On May 26, 2008, at 7:22 AM, Martyn Hodgson wrote:
Howard,
Without going back to square one and repeating subsequent postings,
Much to the relief of the entire list, I'm sure.
what I was hoping to say in my last email was that, despite his
'critique', all the theorboes offered on
On Sat, May 31, 2008, Timothy Motz [EMAIL PROTECTED] said:
Well, to each his own Dana, but I find that for myself there is no
substitute for doing.
I dont see where we differ on this last; my point is that there is
considerable value to taking it in stages, all at once is overwhelming.
damian dlugolecki [EMAIL PROTECTED] schrieb:
The fact that it had overspun basses on it at one
time is not evidence that this is how it was strung during the 17th
century.
The easiest way would be finding out from when the strings date.
Overspun strings begin to be used in the late 17th
I agree, Howard. The same holds true in baroque lutes, in which surviving
instruments had various string lengths.
ed
At 02:09 PM 6/1/2008 -0700, howard posner wrote:
The one thing that makes no sense is to simply wish away the range of
pitches that existed historically because it doesn't mesh
Dear Damian,
please do send answers to the list, too, so that other may get to know
your opinion directly instead of reading it from my quotes.
damian dlugolecki [EMAIL PROTECTED] schrieb:
It is unfortunate that Mimmo made that grand leap of illogic. His analysis
is normally quite sound.
I think the idea, pioneered by harpsichordists, of scaling may well
be true, although there are still some uncertainties in my mind,
particularly in regards to notches of various types, but also in
regard to paired instruments, or trios and quartets of instruments.
Assuming that tone apart held
On Jun 1, 2008, at 5:58 PM, David Tayler wrote:
Perhaps the answer, as far as theorbos go, is to have a new
definition of theorbo.
What's the question, exactly?
Slim chance that everyone will agree on the definition, but perhaps a
collective attempt is the way to go.
I propose the
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