When I was a student, I experimented with different tunings on the
guitar, and composed a number of pieces in the tuning e', b, g, d, G, C,
(or fefhh as players in the 17th century would have described it). I
found that different tunings made the instrument sound different, that
certain
The original lute tutors consistently recommend playing close to the
bridge - with the pinkie very close to the bridge - or even on or
behind the bridge. Taking into account the possible differences
between modern and historical strings, this still seems to indicate
16th c taste (early 16th c at
Andrew,
Yes, it seems obvious that players, at least later in the baroque period,
used a technique as you are describing. Actually, I think you have an
assumption that they were after a sharper, more pungent sound. Toyohiko
has shown the contrary. He plays with a historical technique, close
I think one of the reasons why there are no published figures for noise for
the BR1600 is that it has noise suppression filters built in it also has a
full range of pre-amps too. I wasn't aware that 16 bit or 24 bit made such a
difference when recording. Then again I haven't recorded anything from
Andrew,
I tend to agree with what the tutors recommend.
(I don't know if I would use the words sharp or
pungent to describe it, however.) There is also
such circumstantial evidence as Capirola's advice to
set your frets so that they actually buzz against the
strings and the description of
Could you please name the tutors telling to play so close to the bridge ?
and the iconographical evidence (yes there is some but not so much...)
And the other evidence (speak with some luthiers) is to try to play the
strings in different places and hear where sound is the best (objectively,
not
Yes you're right, sharp and pungent is overstating it - brightness is
a good way of putting it. Or perhaps pluckier? as in the old lute-
stop-on-harpsichords argument.
But to argue against myself there's lots of iconographical evidence
for lutenists not playing close to the bridge...
On 25 Sep
On Sep 25, 2008, at 11:16 AM, Sauvage Valéry wrote:
And the other evidence (speak with some luthiers) is to try to play
the strings in different places and hear where sound is the best
(objectively, not just as an idea of your ideal sound) Of couse it
depends on the lute, strings and
Hello Valery
Thomas Mace for sure. I'm fairly sure Marin Mersenne and Mary
Burwell. Now I was sure Gerle said something like 'plant the 4th and
the 5th finger on the soundboard close to the bridge' - but on
checking I find he actually says 'place the little finger and the
ringfinger on
Valery, I was going to ask the same question about which tutors advocate
playing close to the bridge... I remember something like that but in the
baroque period, not in the renaissance, and it seems that the increasing
number of strings/courses influenced the right hand position and that
There's no such thing as sound that's objectively best. As soon as
you say best you've eliminated objectivity from consideration.
Well I'm not with you on this point... If you can't hear where the
instrument is best sounding... and best can be objective (ask some
acoustician specialists
A better example of a buzzy would be a bray harp, which were fairly common
in the Renaissance. I know several folks who own them, although I've never
actually seen them engage the bray pegs...
IIRC Crawford Young said that he is having a bray lute built, since there
is apparently some evidence
Friends,
I have been milling this idea around for a few days now --- my music
history teacher said something like bach would roll over in his grave
to hear one of his violin sonatas performed on a modern violin...
something like that --- he was referring to the ability of the
Art,
This is truly a fascinating story about a man whose family has a direct
connection to our lute music. Many thanks!
ed
At 08:51 PM 9/25/2008 -0400, Arthur Ness wrote:
I'm always somewhat amused by the travails of Bill Lobkowitz, a Boston
real estate agent, and a third-generation American
Guys,
I just bought a Middle Eastern Oud,
How similar are these instruments to their European counterparts?
I've had some expirence with the Oud, but little with Lutes. I'm still trying
to learn. :)
Josh
---
Joshua Edward Horn
Sales Associate ; Radio Shack
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