On May 3, 2012, at 1:06 AM, Joshua Burkholder wrote:
> I actually think a a 7th course in D and fingering the third fret will work
> fine for me in the majority of stuff I want to play
Right now my 7th course is old and fingering the 3rd fret is really sharp. I
have to remember to really push
The 7 course configurtation can be superior- in somewhat the same way & for the
same reasons that an 11 course Baroque lute is far more elegant,
architecturally sounder, easier to handle, and tonally balanced than the 13
course bass rider thing- but which is the model I own, because I play Wei
This isn't just a 7c problem. I play a 10c in transitional tunings and
need to change the top couple of courses for viel ton tuning. My way
of working is to concentrate on pieces for your current stringing.
Once you've exhausted that repertoire, restring and retune for another
repe
Hi Joshua,
I have a 7-course lute and I usually tune the 7th course to D.
However, I keep an extra 7th course in the case, and if I'm playing
lots of music where I need the 7th course in F I simply change it
over. It takes about 5 minutes to change the course, and if you use
plain gut strings they
On 2 May 2012 17:39, Joshua Burkholder wrote:
> I know that some people re-tune the 7th course from D to F as needed, but on
> my rental lute this seems quite impossible. The diapason is stung to F and if
> I drop it down to D it becomes far too wobbly and flabby.
Hi Joshua, welcome to lute ca
It is on the 8th course. I have seen the practice of going with D on
7th, F on 8th, but I could never do that, as I predominantly play
baroque lute, and inverting these 2 would be most treacherous, for me.
ed
At 01:20 PM 5/2/2012, Miles Dempster wrote:
>Hi Ed,
>
>On your 8-course do you hav
In my own limited experience with an 8 course, tuning the D down to a C
(just one tone!) created the problem you cite. It took some time with a
string calculator to find a string that would work at both pitches. (I
used gimped gut with plain gut octave, btw.)
Leonard
On 5/2/12 11:39 AM, "Joshu
Bill,
Mahogany as an export timber arrived on the scene fairly late in terms of
lute construction. Very little of it made its way into European cabinetry
shops until the 18th century. Most of the mahogany growing at that time was
in areas controlled by Spain and in 1622 Cuban mahogany was dec
A copy of this MS is available for Django registered users at
http://musickshandmade.com/lute/facbooks/view/22. Everybody has access
to the contents at the same address.
Alain
On 5/2/2012 12:19 PM, David van Ooijen wrote:
On 2 May 2012 21:13, Arto Wikla wrote:
I happened to find one page of
After about three years playing an 8 course lute, I acquired a 7 course. It is
the 7 course instrument I now most often play; I do find it the most
comfortable for me. I tune the 7th course to D and stop the F as needed.
Ned
On May 2, 2012, at 12:06 PM, Daniel Winheld wrote:
> Your post expla
On 2 May 2012 21:13, Arto Wikla wrote:
> I happened to find one page of the Add. MS. 15117, British Museum, among my
> That page was the "Willow Song" as a lute song with handwritten tabulature.
Years and years ago that page was on display in the British Museum
when I visited. Next to handwritt
Dear lutenists,
I happened to find one page of the Add. MS. 15117, British Museum, among
my files - actually in an unexpected folder containing computer science...
That page was the "Willow Song" as a lute song with handwritten
tabulature. Not bad. Does anyone here happen know more of that m
Aha, thanks, Ed. Plan your tension in between and split the tension
difference. Makes sense to me. Converting it to something else
entirely? Sigh. Ok, just kidding. (And yes, I know it's the most
athentic way to build a baroque lute)
s
On May 2, 2012, at 11:05 AM, Edward Martin wrote:
Joshua,
There's a lifetime's worth of music in 16th century. If you put on one
more course to accomodate Dowland more power to you. Me? I guess I've
been shedding courses over my years at it having discovered the
renaissance guitar lately. (Mrs Smith, who doesn't share our love of
nuance
Thanks Alan, the plucking close the bridge seems like good tip indeed.
As for a 6-, 7-, and 10-course lute being the perfect set up for the
renassaince, why, I'm already a third of the way there! As long as I don't get
interested in baroque or continuo playing!
On May 2, 2012, at 19:59, Alan Ho
Hi Ed,
On your 8-course do you have the D on the 7th or 8th course?
Miles
On 2012-05-02, at 2:05 PM, Edward Martin wrote:
> Hi Sean,
>
> Actually, I do not have a 7-course lute at the moment, I use an
> 8-course for renaissance lute, as for the reasons cited. i did have
> a 7-course, whic
Dear Collective Wisdom,
I see that mahogany is never recommended as a lute building material
(except perhaps for neck blocks). I wonder why this should be? Are
there no surviving old lutes that used it? I do know that the
Jacquemart-Andree vihuela is now believed to have dark mah
Hi Sean,
Actually, I do not have a 7-course lute at the moment, I use an
8-course for renaissance lute, as for the reasons cited. i did have
a 7-course, which was converted to an 11-course, Frei. When I used
it as a 7-course lute, I essentially had it strung with a string
in-between the 2 to
If you haven't yet ordered a lute, I would consider an 8 course,
which
in my opinion is more versatile.A It even allows you to cheat and
play
10 course music...
Very true, Bruno, I loved exploring the Vallet and Ballard books for
years on my 8c, turning singers on to Airs de cours
Hi Joshua,
I have 6 and 9 course orpharions and find that almost all mainstream
renaissance music works on the 6 course. There are some pieces where
you need to move low Ds and Fs up an octave, but after a while you do
this automatically. Where the 6 course is limited is the few pi
Dear Bruno,
Well, I didn't really want to start a 7C vs 8c debate, since I get the
impression this fairly well-trodden ground for you guys on this list. I have
considered an 8-course, in fact it was my initial plan, and can see the
attractiveness of its flexibility. But I really feel most attra
Hi,
A
I'm interested in trying out Mimmo's Nylgut Oud strings on my Moroccan
Oud.A Anyone has experience with them? I note that like all Oud string
sets, the 3 rd string is wound.A I personally prefer a non-wound
string on the 3rd course.A I currently use gut on my first 3 co
Hello
A
If you haven't yet ordered a lute, I would consider an 8 course, which
in my opinion is more versatile.A It even allows you to cheat and play
10 course music...A
A
Bruno
On Wed, May 2, 2012 at 11:48 AM, Braig, Eugene <[1]brai...@osu.edu>
wrote:
It's be
And what about 8c lute with reentrant tuning in basses? 7th course=D
and 8th course=F
2012/5/2 Arto Wikla <[1]wi...@cs.helsinki.fi>
Dear Joshua,
welcome to the gang!
I think you can make the same 7th work in F and D. My example:
7-course Venere, 58 cm, the 7th course:
Dear Joshua,
welcome to the gang!
I think you can make the same 7th work in F and D. My example:
7-course Venere, 58 cm, the 7th course:
Aquila's new nylgut octave 94 NNG
Aquila's type D string 195 D
The tensions are (a'=440Hz)
in F 3.657 Kg / 3.935 Kg
in D 2.586 Kg / 2.782 Kg
F is quite
Thanks Daniel,
I do come to the lute from the guitar, though with a hiatus of 6 or 7 years in
between, so I am not finding the learning curve too steep, even though I was
not a particularly accomplished guitar player. Fortunately I'm a freelancer who
works from home and so have a lot of time to
Eugene,
Well I have considered (and tried) an 8-course, and understand their
advantages, but the music I'm most interested in is mostly 6 and 7 course, and
so I feel like I don't really need the extra course. In any case, let's leave
aside my choice of lute for the moment (though your advice is
Your post explains why the 8 course lute was developed, or as I like to call
it, the "Double 7" . I have never found a string material of any sort that
would stand up to a scordatura range exceeding a whole tone. Even going for a
compromise tension (say an ideal E/E-flat) would still be unsatisf
It's beginning to sound like an 8-course might actually better suit your needs.
While short lived in period, they seem pretty ubiquitous today.
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Joshua Burkholder
Sent: Wednes
Dear lute-listers,
A question from a beginner:
First to introduce myself, my name is Joshua and I've been playing the lute for
several months now; I have been on the list for a couple weeks and am really
enjoying following your discussions. I have a rental 7-course and I am now in
the process
Hi Roman,
I'm confused. Are you saying that the gamba parts are subordinate to the
organ, that the gamba is accompanying the organ and not the other way
around.
Gary
- Original Message -
From: "Roman Turovsky"
To: ; "Gary Digman"
Sent: Tuesday, May 01, 2012 4:11 AM
Subject: Re: [LUT
31 matches
Mail list logo
