New CD
Hagen Falckenhagen Scheidler: The Court of Bayreuth - Lute Music of
Hagen and Falckenhagen
Miguel Yisrael, Baroque lute
About this release :
Frederick the Great's court in Potsdam was a recreation in Germany of
Versailles -- Frederick loved all things French. He also
From: Max Helder max.heldermax.hel...@gmail.com
Frederick the Great's court in Potsdam was a recreation in Germany of
Versailles -- Frederick loved all things French. He also imported the
baroque lute, an instrument that had been created in France.
That's an original thought...
RT
Hi
On Fri, 19 Feb 2010 12:16:55 -0500, theoj89...@aol.com wrote:
Robert Johnson seems to have lived mostly in the Mississippi Delta area -
one of the greatest exponents of 'delta blues'. The french settled in
Louisiana - the next state over, but didn't seem to have populated this
area of
Hi Sean and all,
Mindful of the fact that HIP frets should be double, in the late 1980s I
had double frets on one of my lutes for some time. I found that I could
flatten the strand nearest the nut slightly by rubbing it with my
thumbnail and this speeded up the process of wearing them in. I
Martin
As previously discussed, double frets (a single piece not two guts)
need a bit of time to 'bed in'. The loop closest to the stopping finger
takes most of the wear whilst the other loop acts as the cut-off. Thus
double frets also last longer than single.
rgds
Martyn
Martyn, Sean, and Martin
nbs= p; I have double frets on my 11c lute, and have had them
for more tha= n a year.
Stephen Gottlieb mentioned burnishing the first element of th= e double
fret, so it had presumably been slightly lowered (thus similar to =
Sean's double single
Martyn,
--- On Fri, 2/19/10, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
The continuing, if strange,
fascination single loops seems to
defy historical evidence and practical
experience.
Time to wake up that sleeping dog! Once again I'll jump into hot water and
point out that the
Second attempt
Martyn, Sean, and Martin
I have double frets on my 11c lute, and have had them for more
than a year.
Stephen Gottlieb mentioned burnishing the first element of the double
fret, so it had presumably been slightly lowered (thus similar to
Sean's double
Hi Martin and Chris,
So we're all going through a long on-again, off-again experiment with
doubled frets. Interesting. I'd like to use doubled frets if that's
what was done and, as usual, I expect the advantages aren't
immediately obvious. For now I don't know when I'll come back to them
To All:
I think Chris is on to something regarding the nature of the material.
Old strings were produced, twisted and 'extruded' using a simpler
technology resulting in a less uniform result. That is why strings
came in bundles with probably greater lengths than we are used to.
Well! As the jumping into hot water already started... The double frets that we
know of, came into use at the same period as the bray harp, and the bray
attachments in virginals. Again, aesthetics of the sound, it was considered
that a hard object slightly touching the string near its' cut-off
This question of swing or inegalite is something I've been thinking about
for a long time. My friend Reg Hall - an ethnomusicologist who specializes in
Irish traditional music, English traditional music, and New Orleans jazz - once
told me that, when we talk about traditional music, playing
Good point, Alexander. There could easily be an aesthetic point to a
slight bray and I confess to enjoying this aspect of double frets.
Although unrelated to renaissance music as we know it, many Indian
instruments like the vina, sitar and tamboura have a braying mechanism
just north of
Dear Collective Wisdom,
Was the word chiave used to mean tuning peg in 18th-century Italian sources?
Were there other meanings/uses?
Grazie mille -
GDR
To get on or off this list see list information at
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Getting very interesting- I now remember (it was so long ago) when I
got my first lute from the builder (Hugh Gough, NYC, 1973 approx.) he
instructed me in the double fret method, not super thin but certainly
thinner than today's typical singles- he also advised wetting them
for a minute in
On the other hand, they were also not blissfully sitting still all
the time- a contemporary account of the great Pietro Bono describes
his playing as ...Storming from the very bottom to the top of the
lute's range... and other words suggestive of the technical level of
a Joe Pass or Django
Robert Johnson seems to have lived mostly in the Mississippi Delta area - one
of the greatest exponents of 'delta blues'. The french settled in Louisiana -
the next state over, but didn't seem to have populated this area of mississippi
at that time. African folk music, brought over by the
- or we use rather too large frets these days. Dowland's fret sizes are
small compared to present practice and, perhaps, were required to 'set
a lute fine' ie very small distance betqeen string and fingerboard even
at 8/9th fret.
I'm sorry, I don't understand your point about
I know the story of young boy Reusner being sent to france to study with
the great french masters returning (due to homesickness) with the new
instrument and a lot of music for it ...
Thomas
Roman Turovsky schrieb:
From: Max Helder max.heldermax.hel...@gmail.com
Frederick the Great's
GILBERT ISBIN : 5 CITY SONGS FOR SOLO LUTE, COMPOSITIONS AND
IMPROVISATIONS
[1][default.jpg]
[2]5citysongs
(c) 2010 YouTube, LLC
901 Cherry Ave, San Bruno, CA 94066
--
References
Visible links
1. http://www.youtube.com/watch?v=d7BAygWmG3gfeature=email
2.
I don't know about Italian but there is one Spanish late 16th source in
which the word 'clabacon' is used to mean 'tuning pegs' of a harp. I
suppose 'clabacon' comes from the root word 'clave' meaning 'key' (i.e.
same meaning as the Italian 'chiave') or, indeed, 'clavo' = 'nail'
whichever is
What is truly amazing is the matched set of
baroque accordians which presumably were the
basis for the Cajun accordion, the originals now at Tulane.
d
And let us not overlook the precursors of the baroque accordian,
the renaissance harmonica and concertina...
T
At 03:03 PM 2/18/2010, you
Thanks, Alexander -
A title sparked my curiosity, but I'm curious in general now. The title is
Cavaninna Conto Chiave.
GDR
On Feb 19, 2010, at 7:04 PM, Alexander Batov wrote:
I don't know about Italian but there is one Spanish late 16th source in which
the word 'clabacon' is used to mean
A corruption of the original Acadian
What is truly amazing is the matched set of
baroque accordians which presumably were the
basis for the Cajun accordion, the originals now at Tulane.
d
And let us not overlook the precursors of the baroque accordian,
the renaissance harmonica and
Thanks, Sean.
A bray effect might be good - it sounds good on a harp, and strangely
seems to increase the duration of the sound - but have you tried to
achieve it with a lute? The easiest way is to thread a piece of paper
or something between the strings at the bridge end of things. To get
Anthony,
How strange...it looks like we were both the same place and the same
time not knowing about each other. It's a pity I didn't know you would
be there too.
Anyway, I have a strong impression from what you are writing, that
during our string talk you were very much relating to the
the old guys (the Ambassadors painting, Dowland) used very thin
It seems to me that very thin frets combined with presumed lower
tension strings would create more than the subtle buzz of a bray effect.
Anybody tried it?
Regards,
Leonard Williams
On 2/19/10 3:04 AM, Martin Shepherd
Hi,
just a copy of my message in b-lute list. Delete if you get that too. Sorry
for the trouble.
Arto
Original Message
Subject: [BAROQUE-LUTE] Re: Louisiana and the Sun King, Louis XIV
Date: Sat, 20 Feb 2010 00:34:45 +0200
From: wikla wi...@cs.helsinki.fi
To:
Hi Martin,
I know you play quite a bit of this early stuff, that is, pieces that
really have their roots in the previous century and have seen some of
the unconventional characters found in it so may I bounce these ideas
off you? Actually despite all the baroque topics I daily see here I
On Thu, 18 Feb 2010 23:28:51 -0800, David Tayler vidan...@sbcglobal.net
wrote:
What is truly amazing is the matched set of
baroque accordians which presumably were the
basis for the Cajun accordion, the originals now at Tulane.
d
Hi d,
what are your baroque accordians? Please, tell us!
One factor to consider in tone color is that the Ganassi recorders
and viols represent a consort with a fine, close voiced blend
presumably similar to a vocal performance, but it is also clear that
this was not exclusively the renaissance ideal, as combinations such
as lute and harp (close in
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