I bought it new for a reasonable price (aprox 45 Euros) here:
www.ars-antiqva.com
It's a shop in Madrid specialized in Early Music material, both books
and printed music, with a huge string assortment, and some instruments.
The lady on command is very helpful and knowdgeable.
Saludos,
Another factor to consider is pullups, if you use them.
I use three different ways to tune the notes, the most common is to
pull the note up to pitch, and the most common of these are the
thirds on the second fret that are pulled up--normally sideways while
pressing down toward the treble
I am extremely sceptical about this claim, if only for the
insignificant change in pitch which would be achieved by an additional
depression of say 0.5mm (ie from stopping the string without bottoming
to the fingerboard and fully depressed) . By way of an example: the
increase in
This tutor also was my first baroque lute teacher and I can only concur
with all that Mathias said. It is a good starting point.
And it was published in 1939 !
But is still available as far as I know!!!
Beware of the expensive offers in antiquarian book shops
Markus
Mathias Rösel schrieb:
I find that depressing the string more or less, especially next to the
fret does indeed alter the pitch significantly.
This can indeed be used to change temperament temporarily. It is also
not just the pitch that is important but also the fact that one can
make the pitch to increase (or
Perhaps you are, in practice, actually pulling it sideways which is the
usual way of raising the pitch as, indeed, someone else has already
mentioned. Sideways movement is effectively independent of fret size
which is the point of discussion.
Have I got the decimal point in the
Dear Collected Wisdom,
is someone aware of a lute composer named Ludovicus de Geer (probably in
German speaking area) who published his music for the 10c lute in 1639?
--
Mathias
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Liebe Freunde in Österreich,
kennt jemand von Euch ein Bild im Kunsthistorischen Museum zu Wien, auf
dem eine so genannte double-headed French lute zu sehen ist? Ich habe
hier geschaut, aber nichts gefunden:
http://www.khm.at/de/kunsthistorisches-museum/sammlungen/gemaeldegalerie/
Does someone
On Thu, Mar 19, 2009 at 4:00 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Perhaps you are, in practice, actually pulling it sideways which is the
usual way of raising the pitch as, indeed, someone else has already
mentioned. Sideways movement is effectively independent of fret
We seem to be at cross purposes: what I call 'pulling it (the string)
sideways' is what you, I think, call 'bending'.
MH
--- On Thu, 19/3/09, William Brohinsky tiorbin...@gmail.com wrote:
From: William Brohinsky tiorbin...@gmail.com
Subject: Re: [LUTE] Re: String
On Mar 19, 2009, at 7:14 AM, Martyn Hodgson wrote:
We seem to be at cross purposes: what I call 'pulling it (the
string)
sideways' is what you, I think, call 'bending'.
You're not, and he isn't. He's specifically describing axial motion
(parallel or along the axis) in contrast to the
On Thu, Mar 19, 2009 at 9:14 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
We seem to be at cross purposes: what I call 'pulling it (the string)
sideways' is what you, I think, call 'bending'.
MH
It is certain that what you are calling pulling is what I am calling
bending. This was the
ERm,
try Google
Best wishes,
Rainer aus dem Spring
IT Business Solutions Division
Tel.: +49 211-5296-355
Fax.: +49 211-5296-405
SMTP: rspringaus...@tee.toshiba.de
-Original Message-
From: Mathias Rösel [mailto:mathias.roe...@t-online.de]
Sent: Thursday, March 19, 2009
I couln't have said it better.:)
Lex
Op 19 mrt 2009, om 15:35 heeft William Brohinsky het volgende
geschreven:
On Thu, Mar 19, 2009 at 9:14 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
We seem to be at cross purposes: what I call 'pulling it (the string)
sideways' is what you, I
Have a look at my page http://www.tabulatura.com/FRELUTE.htm and look for Louis
de Geer.
Best wishes
Kenneth Sparr
Ursprungligt meddelande
Från: mathias.roe...@t-online.de
Datum: 19-03-2009 10:17
Till: Lutelistlute@cs.dartmouth.edu
Ärende: [LUTE] Unknown lute composer
Dear Collected
Thank you, erm... (wouldn't think it's so easy).
M
Spring, aus dem, Rainer rspringaus...@tee.toshiba.de schrieb:
ERm,
try Google
Best wishes,
Rainer aus dem Spring
IT Business Solutions Division
Tel.: +49 211-5296-355
Fax.: +49 211-5296-405
SMTP:
Yes indeed. The human ear can detect these small variations in pitch.
A gut string stretched over time will lose much of it's yield strength
which equates somewhat to elasticity. So even a minor push against
these limits will cause a significant change in pitch.
Damian
I
Have a look on
http://www.accordsnouveaux.ch/de/Abhandlung/Abhandlung.html
and download the work of François-Pierre Goy.
You will have 19 search results and a very detailled discussion of
the manuscripts.
Andreas
Am 19.03.2009 um 10:17 schrieb Mathias Rösel:
Dear Collected Wisdom,
is
The rise in pitch when the string is depressed (fingered) is more to do
with the increase in its tension, not lengthening. Or rather both but
the effect from the latter is negligible.
AB
Martyn Hodgson wrote:
I am extremely sceptical about this claim, if only for the
insignificant
Lieber Andi,
vielen Dank für den Hinweis. Die Abhandlung habe ich natürlich schon
lange heruntergeladen, aber leider bin ich des Französischen bei weitem
nicht so mächtig, wie ich es gern wäre 8| Trotzdem versuche ich mir die
betreffenden Abschnitte zu übersetzen. Danke noch mal!
--
Viele Grüße
On Mar 19, 2009, at 2:07 PM, Alexander Batov wrote:
The rise in pitch when the string is depressed (fingered) is more to
do with the increase in its tension, not lengthening. Or rather both
but the effect from the latter is negligible.
AB
Exactly. That is why you can raise the pitch
Sean,
--- On Thu, 3/19/09, Sean Smith lutesm...@mac.com wrote:
Correct me if I'm wrong here: Strings that are at a
lower tension are more susceptible to this form of bending.
That is why we see scalloped frets on older wire instruments
and less on modern (higher tension) guitars.
I
Hmmm. I just went to the Fender site and the YM Tribute model seems
more like low frets. I would think it's more advantage to have that
extra bending axis. I'm thinking more like a suspension bridge and
they're probably out there.
Sean
On Mar 19, 2009, at 5:59 PM, chriswi...@yahoo.com
On Thu, 19 Mar 2009, Sean Smith wrote:
Correct me if I'm wrong here: Strings that are at a lower tension are more
susceptible to this form of bending. That is why we see scalloped frets on
older wire instruments and less on modern (higher tension) guitars.
It's not the tension but the
It's not the tension but the stiffness of the strings that counts.
Peter.
I don't understand how that affects the pitch in this situation. The
pitch is tied to the tension and I can't increase the tension without
bending the string into the crevice. A stiff string wouldn't
On Thu, 19 Mar 2009, Sean Smith wrote:
It's not the tension but the stiffness of the strings that counts.
Peter.
I don't understand how that affects the pitch in this situation. The pitch is
tied to the tension and I can't increase the tension without bending the
string into the
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