Yes. In an area known as Europe.
RT
- Original Message -
From: "Herbert Ward"
To:
Sent: Tuesday, October 25, 2011 8:58 PM
Subject: [LUTE] Any vestigial Renaissance spots left?
Laboring under the idea that the Renaissance musicians were a product
of their times, I wonder to what ex
Laboring under the idea that the Renaissance musicians were a product
of their times, I wonder to what extent it might be possible to visit,
as a tourist, spots in the world with Renaissance-like attributes in
their culture (cities, neighborhoods, music schools, etc).
To get on or off this lis
Metal strings, maybe? As in a small bandora? I suppose it would look
like a tenor orpharion but I don't see any reason not to tune one like
a bandora.
Sean
On Oct 25, 2011, at 3:58 PM, Mathias Rösel wrote:
My guess is
that the "general pitch" at this period was around a tone lower than
> My guess is
> that the "general pitch" at this period was around a tone lower than
modern, so
> a "G lute" may have been around 67cm string length. I think one of the
songs
> uses a "bass" lute in (nominal) D, so this may have been quite a big
beast.
>
> The strange tuning used for "The Leaves
Thank you, everybody who responded! This list is a treasure trove.
Yours,
Mathias
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Andy, this was meant to go to the list, I suppose?
-Ursprüngliche Nachricht-
Von: andy butler [mailto:akbut...@tiscali.co.uk]
Gesendet: Dienstag, 25. Oktober 2011 21:22
Mathias Rösel wrote:
>
> Translated into pitch, the tuning would possibly be:
>
> 1. B4 - F#4 - D4 - A3 - D3 - C3 |
Of course- that's why I used the term "editor" rather than name you
directly. Just ambiguous enough, since I wasn't sure it that it wasn't
you. My apologies, Martin.
A nine course lute at this time in England would no doubt conform to
Downland's description- 10 frets on the neck (".
Dear All,
Dan, when you say "the editor" in your last sentence, you mean Dr
Fellowes (or whoever it was) not me - I said nothing about the absolute
pitch. My guess is that the "general pitch" at this period was around a
tone lower than modern, so a "G lute" may have been around 67cm string
l
This tuning used by Danyel is in the Traficante system fefhc / dcf - in frets
from the highest to the lowest course 5 4 5 7 2 / 3 2 5.
An interesting point is always
- the ambitus from the lowest to the highest course: here 33 semitones
- the ambitus from the 6th to the 1st course: here 23 semit
I vote for the "sensible compromise"- g stays "g" (easy!) and a low Bb. B flat
was used by other lute composers- see some of Nicolas Vallet's pieces- he has
the 10th course CC scoradature'd down to low Bb in at least three pieces in his
"Secret des Muses". He also wrote for 9 course lute, so a
Sorry for inconvenience ...
Dear Everybody,
not sure if this has been discussed before, as the archives are unavailable
currently. In John Danyels 1606 publication, there is a piece on the last pages
(22-3) with a special lute tuning. It is a solo piece (variations on
Greensleeves), and Danyel
Dear Everybody,
not sure if this has been discussed before, as the archives are unavailable
currently. In John Danyels 1606 publication, there is a piece on the last pages
(22-3) with a special lute tuning. It is a solo piece (variations on
Greensleeves), and Danyel gives a chart with the inter
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