David
Should I understand that for the moment it is not programmable? How about
the diapason, is that variable?
Do the "sweetened tunings" include those that may interest us, 6th comma, etc?
Perhaps, you have not looked into this?
I temporarily mislaid my ST-122 strobe tuner and have had t
I was trying to find the complete score for Couperin s Lecons de
tenebre...on the net. Does anybody knows a place where I can find it in
pdf or other format?
Thanks.
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--- On Tue, 2/8/11, hera caius wrote:
From: hera caius
Subject: couperin lecons
To: lute@cs.dartmouth.edu
Date: Tuesday, February 8, 2011, 2:34 PM
I was trying to find the complete score for Couperin s Lecons de
tenebre...on the net. Does anybody knows a place wher
On 8 February 2011 12:10, Anthony Hind wrote:
> Should I understand that for the moment it is not programmable? How about
> the diapason, is that variable?
> Do the "sweetened tunings" include those that may interest us, 6th comma, etc?
> Perhaps, you have not looked into this?
The website ha
By "diapason" II think Anthony meant pitch standard. I looked at the
Peterson website and it seems to say that it can be varied from 404 to
460 or something - not a wide enough range from some of us who wish all
"early" music could be in 392.
But a tempting machine, nevertheless...
Best wish
Dear Ed, Martyn, and All,
As you lecture on this painting, and until now, I have only given it an
admirative, but casual look, may I formulate a few questions about the
significance of the stringing and the fretting, about which you may be able to
enlighten me?
The fretting appears to
Anthony,
the lute denotes FAMILIAL HARMONY, and the broken string denotes that that
familial harmony
was disrupted by a death.
And the fretting is equally tempered, just like it was (and should be) in
real life.
RT
- Original Message -
From: "Anthony Hind"
To: "Ed Durbrow" ; "Mart
On 8 February 2011 15:35, Anthony Hind wrote:
> Dear Ed, Martyn, and All,
>
> As you lecture on this painting, and until now, I have only given it an
Read
John North
The Ambassadors' Secret - Holbein and the world of the Reniassance
to know all (and more) about the symbolism in this parti
I think there is a mixup between fret-spacing and fret thickness.
Frets being of equal thickness may well mean that this particular lute had a
high action which temporarily can be corrected by tying frets of equal
diameter.
The frets of this lute do not seem to be placed at the 6th comma meanto
Those temperaments were and are for masochists.
RT
- Original Message -
From: "Lex van Sante"
To: "lute mailing list list"
Sent: Tuesday, February 08, 2011 9:59 AM
Subject: [LUTE] Re: [off list] Google Art project
I think there is a mixup between fret-spacing and fret thickness.
Fr
Yes, I agree that high action could be compensated for by equal thickness frets
(and this could also be considered as a less than ideal set-up); but if that is
the answer to my question, why would the strings have been fixed so high in
relation to the bridge holes. Wouldn't that be counter to th
Not all of them were and are.
A 6th comma meantone temperament upon g on a Renaissancelute tunes to g' is
quite pleasant to the ear, well my ear at least.
I find that when I just tune my lute to the sound I want to hear it ends up
being in this temperament.
Cheers, Lex
Op 8 feb 2011, om 16:12 h
Roman
I was not talking about equal temperament versus 4th or 6th comma, but
equal fret
thickness.
I agree with Lex that this could be to compensate for high action, but then why
the high positionining of the strings?
Regards
Anthony
- Message d'origine
De : Roman Turovsky
It can also be really insufferable, when it renders
minor 3rds too wide.
RT
From: "Lex van Sante"
To: "lute mailing list list"
Sent: Tuesday, February 08, 2011 10:17 AM
Subject: [LUTE] Re: [off list] Google Art project
Not all of them were and are.
A 6th comma meantone temperament upon g on
Yes, I read many of these excellent papers, that I hadn't read until now.
The symbolism appears so sophisticated that clearly a badly strung lute could
also have been expected to have been recognised as such, by such equally
sophisticated viewers, and be part of that symbolism; but there are many
I have been using 6th comma on my Baroque lute, in spite of warnings from many
that it should sound dischordant, and it hasn't (at least not to my ears, or to
those of my lutenist visitors.
Anthony
- Message d'origine
De : Lex van Sante
À : lute mailing list list
Envoyé le : Mar 8
Minor thirds were regarded as more or less dissonant anyway, and maybe the so
called Elisabethan Melancholy was to be expressed using insufferable minor
thirds.
LvS
Op 8 feb 2011, om 16:21 heeft Roman Turovsky het volgende geschreven:
> It can also be really insufferable, when it renders
> min
I really find the baroque lute and its music more picky in this respect than
the renaissancelute and music.
LvS
Op 8 feb 2011, om 16:25 heeft Anthony Hind het volgende geschreven:
> I have been using 6th comma on my Baroque lute, in spite of warnings from
> many
> that it should sound dischor
That's why we have so much music in minor keys, n'est ce pas?
I for one can't stand half-ass minor thirds.
RT
- Original Message -
From: "Lex van Sante"
To: "lute mailing list list"
Sent: Tuesday, February 08, 2011 10:28 AM
Subject: [LUTE] Re: [off list] Google Art project
Minor th
Pure is what the ears would percieve as most in tune, if not tainted
by one temperament or the other.
Pure minor third = 315.6 cents
1/4 comma minor third = 304.9 cents
1/6 comma minor third = 310.3 cents
ET minor third = 300 cents
Pure major third = 386.3 cents
1/4 comma MT major third = 386.3 c
I'm sorry to hear that, because it means going to early music concerts must be
a torment for you in most cases.
Lvs
Op 8 feb 2011, om 16:33 heeft Roman Turovsky het volgende geschreven:
> That's why we have so much music in minor keys, n'est ce pas?
> I for one can't stand half-ass minor thir
The unit sounds appealing to me, too.
Although I also perform on modern guitars, on early instruments I
play 98% of the time in 1/6 comma MT at A415. So the unit's pitch and
MT settings sound ideal.
I have been concerned whether the clamp would open wide enough for
easy attachment to a lute pegbo
My earlier response to Anthony:
Anthony
Sorry to delay answering - I will reply to this but if you're in a rush
then send it off. I need to spend proper time studying the picture.
At a glance you're right, the fretting does look all the same
diameter! Trying to think why th
On 8 February 2011 17:04, Mjos & Larson wrote:
> I have been concerned whether the clamp would open wide enough for
> easy attachment to a lute pegbox or theorbo extension (no problem on
The clamps of the cable-and-clamp (Korg/no name/Seiko) fits. The clamp
of the Korg clip-on fits.
> the machin
I have an old Peterson mechanical-wheel strobe tuner. It is
big, heavy, expensive, and must be plugged into the wall for power. But
it works much better than any battery-powered tuner, including those
which have "strobe" in their names.
To get on or off this list see list information at
http:
Dear all,
Does anyone happen to have a copy of Giulio Cesare Barbetta's
1582 Novae tabulae or Il terctio libro? Parts of the copy (in pdf) that
I have are hardly legible, and I need to double check. I'm looking only
for pieces 39 (Martin menoit) and 40 (Il nest plaisir).
Any
A mechanical-wheel strobe tuner has several advantages over the
battery-powered "strobe" tuners that I've seen.
By showing multiple octaves (four or five of them) simulataneously, it
gives you an instant, easy-to-see, and unambiguous indication of whether
a string is false.
Since it has no digit
Dear Anthony and All,
Just a few points which may be of interest:
Anthony, I think there's no need to look for any imperfections in the
lute beyond the broken string, the symbolism of which would have been
perfectly clear to anyone, unlike some of the other (possible)
imperfections you mentio
David,
that was a clever answer! Enjoyable! ;-)
Arto
On Tue, 8 Feb 2011 16:47:49 +0100, David van Ooijen
wrote:
> Pure is what the ears would percieve as most in tune, if not tainted
> by one temperament or the other.
>
> Pure minor third = 315.6 cents
> 1/4 comma minor third = 304.9 cents
>
Just one further thought about the string thicknesses - the 6th course
is about twice the thickness of the third, which implies more or less
equal tension stringing, and the octaves are quite thin, which also
suggests a reasonable amount of tension on the thickest strings (because
with low tens
Thanks Martyn, I should have given you more time to think about this.
"At a glance you're right, the fretting does look all the same
diameter! Trying to think why this may be my speculation (and that's
all it is!) is : if the neck had pulled up this might have been done so
as to reduc
For those wishing to dive into continuo, the slow movement of the
concerto for two cellos in G Minor is an excellent piece to work on,
and it lies really well on the lute, archlute or theorbo.
http://youtu.be/BWDFshDDJ3I?hd=1
dt
To get on or off this list see list information at
http://www.c
Dive into the _listening_ of continuo? Any link to the written music?
Beautiful, though. ;-) Thanks!
Arto
On Tue, 08 Feb 2011 10:23:56 -0800, David Tayler
wrote:
> For those wishing to dive into continuo, the slow movement of the
> concerto for two cellos in G Minor is an excellent piece to w
Having been looking for a copy myself this week - there are plenty of
music shops selling editions of the Leçons ... but no free edition
that I've found yet.
Good luck!
Elly
--- On Tue, 2/8/11, hera caius wrote:
From: hera caius
Subject: couperin lecons
To: lute@cs.d
>> For example, it seems to have been established that some of the
>> instruments are
>>
>> misaligned, as possible symbols of impending chaos, or aligned to the
>> date of
>> Good Friday 1533.
>>
>> "But cleaning of the picture has established that each one of the
>> instruments
>> to the right of
Dive into the _listening_ of continuo? Any link to the written music?
That is already the 2. dan of Continuo: no numbers + no notes :-)=
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In my post regarding this tuner, I had mistakenly reported some specs that
are for the full size version. Sorry!
Regards,
Leonard Williams
On 2/8/11 7:42 AM, "David van Ooijen" wrote:
> On 8 February 2011 12:10, Anthony Hind wrote:
>> Should I understand that for the moment it is not prog
Hi Martin,
I can't really see any reasons for putting the nut in a sloped rebate,
can you? He must have got something wrong in otherwise such a perfect
painting ... :)
The other feature that I'm sure was remarked upon before is the rather
pronounced fluting of the ribs (some other paintings
A friend's daughter has suddenly decided she wants to play the lute. She
has found this, surprisingly inexpensive, instrument:
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=330522967196&ssPageName=STRK:MEWAX:IT
Presumably it's made in the Far East (as reckoned from here in UK).
There wa
Hi Alexander,
Yes, the ribs here seem to stay fluted even as they go over the block,
but in general old lutes seem to have developed the fluting after they
were taken off the mould. I glue my paper linings in wet, and find that
when they shrink they tend to pull the ribs into a fluted shape,
On 8 February 2011 18:51, wikla wrote:
> David,
>
> that was a clever answer! Enjoyable! ;-)
Perhaps, but with a typo. |-(
It's the ET _major_ third that's 400 cents, obviously.
David - way past bed time
>
> Arto
>
> On Tue, 8 Feb 2011 16:47:49 +0100, David van Ooijen
> wrote:
>> Pure is wha
Very nice, David. I played continuo on that piece at least 2 times
in the past, and it is gorgeous.
ed
At 12:23 PM 2/8/2011, David Tayler wrote:
>For those wishing to dive into continuo, the slow movement of the
>concerto for two cellos in G Minor is an excellent piece to work on,
>and it lies
Thank you, Martin.
I know perfectly well the distortion effect you are describing (both
from my own experience and old lutes) but the fluting that is caused by
paper lining re-enforcement of the joints doesn't quite appear so
consistent and pronounced as it looks on some of the paintings. Or
Dear all,
isn't it funny: you tend to read, what you think is written. It is
happy, if also the writer thought as the reader - as is the case here... ;)
Nice example of this phenomenon is scrambling the letters:
"Acncriodg to a reserchaer at Crdgaimbe Ueisnrvity, it dsoen't mtetar in
waht o
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