Since this thread seems to be winding down, I just wanted to thank
everyone who has contributed to it for a stimulating, spirited and
thought provoking conversation. Thank you.
Gary
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I'm not qualified to decide what's right and what's not in any art. I
said, ...from Segovia's point of view...
I'm going to try to refrain from responding any further so as not to
raise the ire of the content police.
Back to the lute when the numbness in my left hand subsides.
Gary
On
David,
this large change of pitch with a little peg turn happens precisely with either
low twist or stiff strings. The mechanics of a gimped string are quite
complex, due to the wire embedded. Not only the gut string material has to
give, when stretched, but also the mechanical connection
Theoretically at some higher pitch the level of elasticity against the pitch
would increase enough to give a sense that string responds slower to increasing
tension. However this would happen at some pitch making tension way too high.
If you try to bring the pitch down, it will only make this
This also fits in nicely with Richard Taruskin's often stated thesis
that early music performance practice today is really a modern
fabrication that seeks to apply 20th (now 21st) century aesthetic
preferences to past music. Indeed, the technically clean, vibrato-less,
metronomic,
Good points and very well said, Chris.
Ned
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On 19/12/13 8:27 AM, Christopher Wilke wrote:
Richard Taruskin
Josquin's Missa Di Dadi
Funny you should mention these two in the same email. Decades ago I
attended an early music workshop in Miami where Taruskin was one of the
instructors, and his task of the week was to lead us recorder
Well-said, indeed!
Thank you, Chris, for your thoughtful posts.
Joseph Mayes
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of
Christopher Wilke [chriswi...@yahoo.com]
Sent: Thursday, December 19, 2013 8:27 AM
To: Jarosław Lipski;
Bruce Haines is a must read regarding this issue (romantic, modern and
the Hip approach).
2013/12/19 Christopher Wilke [1]chriswi...@yahoo.com
This also fits in nicely with Richard Taruskin's often stated
thesis
that early music performance practice today is really
. . . quasi-orgasmic relish is worthy of a tittering *tee-hee*.
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Christopher Wilke
Sent: Thursday, December 19, 2013 8:27 AM
To: Jarosław Lipski; lute@cs.dartmouth.edu
Subject:
So your heart belongs to di Dadi (Cole Porter, 1938)
On 12/19/2013 6:22 AM, Geoff Gaherty wrote:
On 19/12/13 8:27 AM, Christopher Wilke wrote:
Richard Taruskin
Josquin's Missa Di Dadi
Funny you should mention these two in the same email. Decades ago I
attended an early music workshop in
Thank you for the explanation. If you have the formula please perform an
unrestrained act and share it. I really would be interested in it.
Regards
David
Sent from my iPhone
On Dec 19, 2013, at 4:58 AM, alexander voka...@verizon.net wrote:
Theoretically at some higher pitch the level of
OUCH!
On 12/19/13 11:25 AM, Dan Winheld dwinh...@lmi.net wrote:
So your heart belongs to di Dadi (Cole Porter, 1938)
On 12/19/2013 6:22 AM, Geoff Gaherty wrote:
On 19/12/13 8:27 AM, Christopher Wilke wrote:
Richard Taruskin
Josquin's Missa Di Dadi
Funny you should mention these two in
Does anybody know which strings/gauges can I use in a chanzy?
Regards.
--
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So what are we left with? Personal judgements on what is and what is not
interesting music.
Or good music, or correct music, or aurally thought music. Harnoncourt wrote it
some 40 years ago: HIP is not about doing music as it was done centuries ago
but about making lively music for today's
Miles brings up a good point. If the string is gimped, the metal ³core²
will cause the string to behave more like a metal string: less elastic
than the gut covering it. I use gimped fundamentals for 7 and 8 on my
8-course, and I know just what you¹re going through. The lower (heavier,
Some of this talk of masterclasses has reminded me of my checkered past
with the format.
In 1994, when I was 20, I performed in a masterclass of a certain
well-known female guitarist. I made the mistake of not using her
edition of the Bach I was playing. She was not amused. She was
Hello
Masterclasses should always be about technique or performance.
Unfortunately some artists dont understand that. I remember one
masterclass with a well known japanese lutenist back in university in
1980, who spent more time criticizing the instrument I owned at the
time,
Thanks all. The conclusion that I here is that:
1. Gimped Gut Strings are more sensitive at tension when tuning (i.e. change
in pitch with change in tension is high).
2. Lowest pitch strings are the hardest.
3. 13 course does better than 11 course due to the rider or the swan neck
peghead (some
I am in a unique situation, to where Dan Larson
is one of my closest friends, and he lives just
one block from me. So, I get to partake in research and development.
I used his gimped strings for years, they are
good. However, for the past 2 years, I have gone
on my 11-course lute to pure
Wow- forgot how gorgeous those pieces are. But yes, I too changed to
plain Pistoys on my 7th 8th courses of my Larson 8 course tenor lute.
Still use the gimps for 12 13 diapasons on my small archlute. Two
single strings in arm's reach I can cope with.
Dan
On 12/19/2013 10:40 PM, Edward
Hi Do anybody know a arr for R-lute (10 c) of this great piece
Best Regards
Mikael
Mikael Forsberg
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