Sorry, forgot there was an attachment of the cartoon from EMR, which of
course didn't appear.
M
On 11/12/2013 22:49, Martin Shepherd wrote:
Sorry, David, I couldn't resist forwarding this...
Original Message
Subject: nails
Date: Wed, 11 Dec 2013 21:45:06
May I endorse Bruno and state academic research is a fantastic knowledge work.
Making interesting music is another thing.
Violinist and writer Judy Tarling has been twice in Brazil and showed us how
academic research can be included into making lively, interesting music.
She writes and plays
OK good people, this will be my final post on this subject. I grow weary of
the gratuitous condescension and infuriating belittlement - take the
trouble to learn how to do it, indeed.
On 12/11/13 9:26 PM, Bruno Correia bruno.l...@gmail.com wrote:
2013/12/11 Mayes, Joseph [1]ma...@rowan.edu
Joe,
No need to be offended. You raise some good points. Because of my
activities as a classical guitarist and lutenist, I must occasionally contend
with nails and lack of nails on each instrument. The biggest hurdle has been
baroque lute. Until relatively recently, I could not any kind of
Thanks, Chris
You've raised the level of discourse.
Best,
Joe
On 12/12/13 8:48 AM, Christopher Wilke chriswi...@yahoo.com wrote:
Joe,
No need to be offended. You raise some good points. Because of my
activities as a classical guitarist and lutenist, I must occasionally contend
with
Thank you also, Chris for your last post. Very enlightening, your
experience of nails with Baroque Lute vs. nails on Classical guitar.
That's the kind of in depth reporting that is needed (and much like the
re-discovery of lute RH technique in general- thumbs in, out, and all
the rest) and is
I'm surprised there has been no mention of Stephen Stubbs in this
conversation. Stubbs did not come to the lute from the typical
classical guitar background and thus has no reason to justify his
technique. He has played lute with nails for many years and has
recorded some of the
I've just listened to his Kellner recording and for my taste, honestly,
it has an unpleasant sound (even with his great playing). I don't know
if he is playing with nails, but as the sound is so metallic it
confirms your statement. Now, that is a true silvery tone, no sweetness
Here is a more well-mannered, illustrated (scroll towards the bottom of
the page) discussion on RH nails, Mouton etc:
[1]https://www.facebook.com/photo.php?fbid99709983490349set=a.14395780
5732236.27163.13540520662type=1theaternotif_t=photo_reply
Alexander
Original
The link seems to have got corrupted. Hope it works this time:
https://www.facebook.com/photo.php?fbid=399709983490349set=a.143957805732236.27163.13540520662type=1theaternotif_t=photo_reply
On 12/12/2013 23:25, Alexander Batov wrote:
Here is a more well-mannered, illustrated (scroll
Here is my version of the Lauffensteiner sonata in F major. The courante has an
added bonus of a unique camera angle!
Danny
Allemande: https://www.youtube.com/watch?v=5Hd1viYDviw
Courante: https://www.youtube.com/watch?v=FTXfUsI4tzI
Rigidon: https://www.youtube.com/watch?v=4-m5a5hpkBs
Alexander-
Thank you. THAT is the discussion we should be having. I hope everyone
who has had a dog in this fight follows your last link and reads the
whole thing. Here is a sample to get you interested: (Paul Beier's
translation of Piccinni, with the original theorbo poster's
The reason, why the nails are not so good to draw sounds with, as the
flesh.
But on doing of this, take notice, that you strike not your strings
with your nails, as some do, who maintain it the best way to play, but
I do not; and for this reason; because the nail cannot draw so
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