6-course lute, 63cm:1x1+5x2
7-course soprano lute, 44cm:1x1+6x2
8-course lute, 62.2cm:1x1+7x2
10-course lute, 61.5cm:1x1+9x2
archlute, 67cm:1x1+5x2/100cm:8x1
French theorbo, 76cm:8x1/140cm:6x1
chitarrone (overo tiorba), 86.7cm:7x1/158.7cm:8x1
chitarrino, 53.5cm:1x1+3x2
8 tarantulas, each has 8
Dear all,
on Wednesday 07 September 2005 14:39, Roman Turovsky wrote:
There are many lutenetters who joined the list a long time after we
spilled our beans about who we are. Anyone new interested in adding
to Arto's collection??? And what is the best way to conduct this? RT
Just send me
Dear Roman,
no more Beethoven in the lutelist, please. I do know you admire the
commonly established great composer heroes as much, or even more,
as the popular music history books do - and disrespect the ones that
are not mentioned in those books. But please, please, save us from
your final
Dear lutenists
Howard wrote:
But the forum is no less open and no more censored than it was before.
The only difference is that one more person is now on the list of those
excluded from posting.
And Göran replied:
I don't understand, what kind of legal logic or lingo you refer to for
Dear all
On Sat, 27 Aug 2005, Stuart LeBlanc wrote:
As someone else mentioned, a simple solution to inflammatory messages is to
use
the delete key or a filter. Though I've been deleting MO sight unseen, I
would
prefer to remain able to decide for myself. Dredging through MO or even
Dear lutenists and such,
just by accident I happened to find my virtual way to the Werner Icking
Music Archive pages. And there seems to be HUGE amount of well edited
modern editions of music, also lots of early music. And they say:
The archive contains free sheet music, free for
Dear Sean,
I'm not sure I've seen references below to the earlier edition of Il
Fronimo (I'm sorry I don't know the publ date --my HMBrown resides at
the library ;^). It has different musical examples, eg, the Ancor che
col partire and its fantasy aren't in the 1584 ed. Are there other
On Wednesday 17 August 2005 15:43, Francesco Tribioli wrote:
Oh, no... That is my tablature editor program. There is a whole scan
of Il Fronimo in PDF or JPEG somewhere but I don't remember
where...
With Google I found the link in LSA page
http://www.cs.dartmouth.edu/~lsa/associated/Galilei/
Dear lutenists and lute scholars,
my quest concerning the gallichon and music the by Brescianello to
the collected wisdom of the list was (and will be?) a real success!
Thank you, everyone! We really know much more of the subject now.
And the idea of playing/trying that music by a normal, at
Dear Stewart and all
On Sat, 13 Aug 2005, Stewart McCoy wrote:
for music to speed up over the years, as to slow down. However, the
fact is that the tempo of musical genres in the 16th, 17th, and 18th
centuries tended to slow down. I gave the saraband and galliard as
examples. The same thing
Dear lutenists,
there is music for gallichon by Brescianello
Oeuvres pour Gallichon
(http://luth-librairie.ifrance.com/brescianello.pdf)
that Richard Civiol has edited and gives to us all in his wonderful
pages http://luth-librairie.ifrance.com/
is quite interesting, indeed. And big thanks to
Thanks to everyone for the info!
Especially important source was Pietro Prosser's article in Marincola's
lutebot5: http://www.marincola.com/lutebot5.txt
One question more:
What is/are the source(s) of Richard Civiol's edition of the
Oeuvres pour Gallichon by Brescianello. A printed book or
Dear Roman others
On Friday 12 August 2005 15:15, Roman Turovsky wrote:
Arto, not everyone shares your enthusiasm about Brescianello's
mandora music, which was even (mis)committed to recording at least
once, by Terrel Stone.
I personally don't see much in Brescianello's mandora music at all
On Fri, 12 Aug 2005, Herbert Ward wrote:
I went to Google, and typed string frequency tension density,
expecting academic pages, and encyclopedia articles.
Lo and behold, the #1 entry was Arto's string calculator.
:-)
Arto
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Hi all,
on Wednesday 03 August 2005 15:08, Mayes, Joseph wrote:
I thought we had moved on past the guitar-bashing stage. Roman
doesn't like Giuliani (I wonder who will be discussing Roman after
he's been dead for 150 years)
Roman just forgets the expression in my humble opinion in his
Hi all,
it seems that the pics are still online.
www.jsbach.mynetcologne.de/ambassadors.html
In the other painting in that page (Holbein, Berlin) there is something
quite intreresting, too,
http://www.jsbach.mynetcologne.de/ambassadors-Seiten/Bild8.html
The high octave of the 6th string
Dear all,
just a small addition to the talk of dedillo:
A. Lawrence-King uses every now and then the dedillo in playing the
harp. The effect - soundwise and also show-wise (is there such a word?)
- is very good!
Harpists on the lute list, is that common in harp playing?
Arto
To get on
Hi all
I did some Googling and found the recording I told about - well actually
a 2-CD version of the old 3-LP recording. The page I found is:
http://www.amazon.com/exec/obidos/tg/detail/-/B02SSB/102-5627750-3067359?v=glance#product-details
and the recording is
The Art of Courtly Love
Dear Göran
On Wed, 8 Jun 2005, G.R. Crona wrote:
why haven't we heard about this before? It sounds like a bloody good
story like a writer would use: A community of opium- or hemp-smoking
vocal composers, active in France in the 15th century, turning out
some amazing avant-garde music. They
Hi all,
On Mon, 6 Jun 2005, G.R. Crona wrote:
surrealistic. The music was definitely what you would today call
avantgardistic, although still (barely) inside the musical idiom or fold
of the times. The text dealt with the word fumé. I always believed fumé
came to Europe with the
Dear Dana,
On Fri, 27 May 2005 [EMAIL PROTECTED] wrote:
Jon Murphy [EMAIL PROTECTED] said:
Bringing it back to the lute, your
ear is the best tuning device.
Arguable.
Yes, some humans ear will be the ultimate judge, but, diffreent ears
have different preferences, and, frankly, the
Dear Marion and others,
sorry, I did not mean to insult you, and not even RT!
I understand the paper bag's linking to lutensts problems.
And I understand also how the (in)famous S actually has
something to do with lutes.
In the good old days all was better... ;-)
So perhaps my main message
On Sat, 21 May 2005, Roman Turovsky wrote:
Let me put it this way: I have never picked on the undeserving.
RT seems to consider himself the God? Cute.
Arto
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Paper bags might work also although I have not tried them.
Oh how I miss the 1990's of the Lutelist! No paper bags talk, no
arguments about the S - actually no S at all. Lots of wise
writers. General understanding between us. Well, lots of fighting
sometimes, too. But anyhow there was some
Hi all,
On Thursday 19 May 2005 14:38, Mathias Rösel wrote:
I lack any control of Spanish, unfortunately, but with -uela is a
diminuitive ending, doesn't that suggest that vihuela is from a word
like VIHA?
I doubt that! The Finnish word viha is hate (noun) in English. ;-)
Best wishes,
Etimology of FLUTE:
First recorded in Provençal, as FLAUT, most likely a conflation of Lat.
FLABEOLUM and Arabic LAÜT (wood or twig, or mus.instr.).
So apparently Arabs used the L word for ALL musical instruments. How
fitting.
There is an interesting Finnish parallel. In his
Dear Thomas,
on Mon, 9 May 2005 [EMAIL PROTECTED] wrote:
didn't Werl just add pieces? I haven't looked at this music as variations
..
I, too, like the M.Galilei
Well, I just was perhaps too eager to write something positive, something
on topic to the List... ;-)
But Michelangelo G. really
Sorry!
No more politics or/and ethics by me in the List.
Definitely.
Arto
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Dear all,
Listening to Paul Beier's recording of the Michelagnolo Galilei 1620
publication, the second track, Sonata in C-major consists of a
toccata and two voltae. The first volta has a very beautiful division
not found in the facsimile. Did Beier make the division himself? Is it
Dear lutenists,
yesterday I was listening a classical radio channel in my car radio, and
I heard something very interesting: a baroque opera sung in German! The
style was - let us say - something middle baroque 1680-1710?
Normally you would expect that style in German being sacred.
In the
Thanks to everyone who assisted finding the composer!
Yes, from Eise to Keiser, logigal... ;-)
So it is Reinhard Keiser's Croesus, printed 1711!
I asked also in the rec.music.early and got a link to Keiser's bio:
http://www.stadt-teuchern.de/reinhard_keiser_biographie.htm
How so good music
I still contunue my own message. :-)
On Wednesday 04 May 2005 12:33, I wrote:
So it is Reinhard Keiser's Croesus, printed 1711!
I asked also in the rec.music.early and got a link to Keiser's bio:
http://www.stadt-teuchern.de/reinhard_keiser_biographie.htm
There are also pages by
Dear lute gang,
please forgive me the following... I just try to clear reasons of not
understanding the world today. In a private mail I wrote to one of the
List members the following. And please, if you dislike politics and/or
moral, skip what follows!!!
Here comes the quote from a private
Dear Michael and all
On Sat, 30 Apr 2005, Michael Thames wrote:
I don't know if anyone else has noticed, all these multiple
personalities, Felix Krull, Gian luigi Chiaperalli, Saucheck, etc.
It just seems to be so today in the Net, that there are individuals, who
enjoy playing games with
Dear all,
I just got my copy of the Florida, Sive cantiones... by Joachim van
den Hove, reprinted by The Dutch Lute Society.
Very nice work! Interesting introduction, beautifully printed facsimile,
beautiful book! Lots of interesting music - the vocal intabulations
seem to be _quite_
would like also to see the new light... ;-)
Best wishes,
Arto Wikla
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Dear lutenists,
in the LSA Quarterly, , No.1, there are some nice contemporary
lute compositions. It is very nice to promote also new music for lute!
Many thanks to editors! And of course to the composers... :-)
I like especially The Dauphin by Carver Blanchard and Le tombeau de
Louis
Hi all
The last piece of Reusner's Erfreuliche
Lauten-Lust (1667) is a
Couranta sine quintâ, quartâ et tertiâ
It doesn't use the the highest 3 courses. In which
respect could they be called quinta, quarta et tertia?
Or does it refer to something else?
Just a wild guess: If you
Hi Mathias
So you there have quintâ, quartâ et tertiâ!
se non e vero, e ben trovato, Arto ^^
Grazie! :-)
But that is actually what I thought years ago, when I first time saw the
piece...
Arto
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I have been happy with my Soundman OKM II Studio Klassik
microphones. Very small, but very good.
See their page http://www.soundman.de/
Arto
PS I have no connection to the company... :-)
To get on or off this list see list information at
I second that motion! Thanks, Wayne!
Also my big and sincere thanks to Wayne for the great effort of quite
a few years of running the List! And I've been here for a quite long
time now ... ;-)
So: Thank you Wayne!! :-)
Arto
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Dear all
Ed wrote:
I have wondered if anyone had ever taken a lute out in flight played for
passengers! Good show, Kenneth!
Well, not in aeroplane, but a couple of times in train, 10-course and
theorbo. Both got good comments, and especially the theorbo aroused lots
of interest...
And
Hi all,
nothing important, ... ;-)
One colleague at the University was cleaning his directories, and found
some old photos, taken in 2003, of my then new Dieffopruchar theorbo:
http://www.cs.helsinki.fi/u/wikla/mus/Teorbi011203/
Isn't the instrument beautiful... :-)
Arto
To get on
Dear Herbert,
How can one tell whether a string is carbon-fiber or nylon?
One possibility to do it:
1. Measure the length, diameter and weight of the string (or some
cut piece of it)
2. Use my sub-calculator in
http://www.cs.helsinki.fi/u/wikla/mus/Calcs/wwwscalc.html#P1
3. If the
I wrote:
How can one tell whether a string is carbon-fiber or nylon?
One possibility to do it:
1. Measure the length, diameter and weight of the string (or some
cut piece of it)
2. Use my sub-calculator in
http://www.cs.helsinki.fi/u/wikla/mus/Calcs/wwwscalc.html#P1
3. If
Dear Michael and all
On Sun, 10 Apr 2005, Michael Thames comments:
This brings to mind another point in the debate about performing from
memory or
score. Ever notice how most guitarists stare at their hands while
playing,
while a few look into the rafters or close their eyes (drawing
Dear Wolfgang, Martyn and all,
on Wed, 6 Apr 2005, Wolfgang Wiehe wrote:
you=B4ll find these subjects in the 1584 fronimo facsimile on page
102ff.
=84tasti inaguali nel liuto nella viola and on page 106 tasti
aggiunti
di nuovo al liuto loro impertinentia.
Many thanks Wolfgang! Martyn,
Dear Martyn and all
On Tuesday 05 April 2005 12:20, Martyn Hodgson wrote:
So, as I understand it, the sole piece of HISTORICAL evidence is from
Vincenzo Galilei's 'Fromino Dialogo' (1568,1584) translated by
MacClintock (AIM 1985) as:
..Now I come to the matter of 'tastini' which lately
Dear Martyn,
Yes, I would be most grateful for the relevant page numbers in the
original edition(s) -1568 and/or 1584.
The MacClintoc translation/edition is of the 1584 version. If I interprete
the listings of contents right, the talk about uneven fret placement and
tastini starts in page
Dear Rpb,
What tuners have you had experience with or would you recommend?
Korg, Arion, Sabine?
I kind of prefer the tuning fork, but I have also a tuning program in my
mobile phone! It works in phones with Symbian operating system (Series
60). It only listens and gives the Hz, the note
Dear all,
I wrote:
The direct link to the jpg-file of my original handwrinting is
http://www.cs.helsinki.fi/u/wikla/mus/Joplin.jpg
Someone in the list commeted that the jpg-file is rather big and a gif
would be better. Actually the jpg is 1286735 bytes
Now there is also the gif
On Tuesday 05 April 2005 00:12, Michael Thames wrote:
I heard that some people use a silk ribbon tied to the pegbox. and
simply sit on the other end
I use this system with my 10-course lute and (quite short) archlute -
the material of the strap is leather. Works well! Leaves your hands
free.
Dear lutenists,
during the, let us say, couple of years we have had amongst us an
actor, a writer, who knows everything, who is able to tell who
is good or bad player, who is good or bad composer, which music is
good, which is bad, how to play the baroque lute, why not to play
Kapsperger, why
Dear lutenists,
during the Easter I had time to experiment with my smaller theorbo,
Stephen Barber, 76cm:8x1/140cm:6x1. I stringed and tuned the instrument
a fourth higher than a normal a-theorbo:
C D E F G A B c d g c' e' a d'.
The tensions on shorter strings vary between 3.6-4.3 Kg's,
basses
Dear Marion,
Thank you for your very interesting message. I have 8c ren lutes in G and
and a 13c baroqu lute but no theorbo (yet). How many different kinds
of theorbos are there and what advice would you have for me as I
think about what to order?
Well, at least there are the following
On Thu, 24 Mar 2005, Roman Turovsky wrote:
Don't lose your vigilance.
Being too vigilant is counterproductive. There certainly are persons,
who spend all their lives trying to look clever and vigilant. Let
they have their fun, if they choose that. I do not join that gang.
Arto
To get on or
On Fri, 25 Mar 2005, Roman Turovsky wrote:
Don't lose your vigilance.
Being too vigilant is counterproductive. There certainly are persons,
who spend all their lives trying to look clever and vigilant. Let
they have their fun, if they choose that. I do not join that gang.
Arto
There
On Thu, 24 Mar 2005, Roman Turovsky wrote:
The newest installment, #63 in the Sarmaticae series, is dedicated to Arto
Wikla, may his bottle of Finlandia always be half-full.
http://polyhymnion.org/torban/torban4.html
Thank you Roman, I take that as a compliment!
Arto
To get on or off
Dear Alain,
on Tuesday 22 March 2005 22:47, Alain Veylit wrote:
http://cbsr26.ucr.edu/wlkfiles/Publications/Concerto/Spagnuola.html
Warning: Lots of strumming, syncopation and noise... (i.e. dance
music)
Thank you for very interesting new pieces! :-)
What is the recommended
And another (#62).
And another (#61).
And another (#60):
a new item (#59,
for you perusal and delectation
Quite a vielschreiber have we here, both in arranging and letting us
know that he has done that... ;-)
What about informing us still more detailed in the style: Now the 1st
bar of
Dear lutenists,
just a small add-on, which might interest someone?
The concert went well. Large audience, good feeling. And the choir and
we players did well. Thanks to Andrew! Our rehearsal period was also
quite interesting:
Tuesday: 3 hours, the choir, Andrew just directing without harp
On Sat, 19 Mar 2005, Thomas Schall wrote:
8 hours of playing Monteverdi - must have been like paradise ...
Yep! Actually it really was! :-)
And especially when a guy like Andrew is directing the ensemble!
BTW: When A. L-K directs, for some reason or another, the problem of the
theorbo
8 hours of playing Monteverdi - must have been like paradise ...
Another add-on: When we made the Poppea some years ago, the play was
(nearly) uncut: sounding music lasted about 3 hours. We had 8 staged
performances. 3 times 8 is 24! So that was a day and night with
Monteverdi! Great, very
Lawrence-King
Utopia choir/ensemble
violin, Minna Kangas and Maija Sinisalo
organ, Annamari Pölhö
theorbo, Arto Wikla
(Actually there _are_ also some Finnish readers in this list... :-)
Arto
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Dear all
On Thu, 17 Mar 2005, Eugene C. Braig IV wrote:
Put a horse and a donkey together, and you get an obviously intermediary
hybrid, the mule. Nobody is giving birth to dragons and chimeras.
This reminds me of an old story that happened to me years ago. I have
told the story also here
Dear all
On Wed, 16 Mar 2005, Dr. Marion Ceruti wrote:
To clarify the semantics, one can refer to the following definitions
from Webster's New Collegiate Dictionary:
Actually the general dictionaries are not a reliable source of definitions
of special subjects as musicology or especially
On Fri, 11 Mar 2005, Roman Turovsky wrote:
So, to drive the point as far as humanly possible:
Meantone is painting-by-numbers, while ET permits one to say something
meaningful and original, musically speaking.
It is really confusing to find a militant or fundamantalistic
fighter for equal
Dear Martyn and the List,
on Thursday 10 March 2005 11:22 Martyn Hodgson wrote:
I know of no evidence that the theorbo pitched 4th higher than usual
was used for continuo - do you?
I do not know any historical reference to a high d theorbo in continuo
use. Does our collective wisdom
Dear lutenists
I heard that the Dutch Lute Society has just published 'Florida' by
Joachim van den Hove (1601)! And I already ordered a copy... :-)
Just go to their page: http://www.luitvereniging.nl/
All the best
Arto
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On Thursday 10 March 2005 16:28, Roman Turovsky wrote:
On Thursday 10 March 2005 15:17, Roman Turovsky wrote:
I am frankly not sure that the music that relies on MT for
interest were a worthwhile endeavor.
I am sure that the music that relies on MT for interest was and is
a worthwhile
Dear all,
perhaps my old article Basics of the basics of lute continuo, written
11 years ago, could still be of some use to a beginning continuo
player? It was written a g-lute in mind, but some points are
independent of the tuning.
The article can be found in my page
On Tue, 8 Mar 2005, Roman Turovsky wrote:
Also, short of having written tablature accompaniment for the d-min
lute (such as you have for your lieder), is it at all common for people
to read bass figures with a d-min lute?
No, although some do, with historical precedent. I find the idea
Dear all,
I would like to add something to my previous comment:
I plan to string and tune my smaller theorbo to d, a fourth higher than
the big one, as a theorbo pour pieces. I have heard such an axe in
use, and it really gives nice and different continuo! It might be very
useful in
Dear lutenetters
Today I got my copy of Dick Hoban's Lyre edition of the music by
Giulio Cesare Barbetta. (Many thanks Dick! Your work is culture!)
Barbetta has composed many Pavans in 3! And often in the rhytm:
dotted quarter - eight - quarter. I know there were earlier also some,
very few,
Dear all
On Friday 25 February 2005 12:52, Mathias Rösel wrote:
mailto:[EMAIL PROTECTED] schrieb:
... However, how many of us fluently think in
terms of the gamut, mutation, etc. when we play
renaissance or medieval repertoire? Do any of you out
there think about and analyze this
Hi all,
Thomas Schall wrote:
It is a great experience to have a smaller lute and many pieces which seemed
impossible to play because of large stretches are now well within reach. I
have choosen a 7-course variant to avoid the retuning for certain pieces in
the repertoire which ask for a
Dear all,
James A Stimson wrote:
These composing machines and programs seem able to copy lots of things
about a composer's work, except those things that make the work worthwhile
-- inspiration, individuality, diversity, unexpected charms, grace,
elegance, spirit, etc.
Are you really
Dear all,
Denys wrote:
6c lute. As I understand it from Stephen, the deep parabolic neck profile
comes from both the original neck of the Dieffopruchar (which he
examined in detail and produced drawings of in the early 80's) and
observation
of the above mentioned Holbein lute. It was in
Dear lutenists
Dr. Marion Ceruti wrote:
Maybe a musicologist will discover a
manuscript that explains all this so we can stop wondering about it.
Until that time, I will try to keep my left thumb out of sight of the
audience when playing.
Well, in an original and old (about 1990) photo
Dear lutenists,
Thomas wrote:
..
Junge and another couple of Sonatas by D.Scarlatti also arranged for
10-course lute by Martin Junge. This are the Sonatas (in Kirkpatrick
numbers) K209, K491, K11, K377, K380.
Direct link would be
http://www.lautenist.de/Scarlatti.pdf for the Scarlattis
Dear Ed,
Ed Durbrow wrote:
Actually Zamboni is flat and very simple music (often not much more
than simple I-IV-V). Very entertaining but not comparable in any
kind to the music of Weiss
So what is really worth having for archlute solo? I only have
Gianoncelli 1650 right now. I'm
Wellcome back Dana!
And you still are also in the list Who is who in the Lutenet:
http://www.cs.helsinki.fi/u/wikla/mus/LuteNetters/
Arto
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Just testing that I am still in the list. Our mail server had some
problems, and I just test, if Wayne's list automata deleted my address.
Arto
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Dear carlos flores [EMAIL PROTECTED]
Many thanks for your very interesting article!
And the timing was good - the memorial day of liberating one of the
most horrible concentration camps. In your list there could have
been also the tendence to illegal imprisonment camps and using torture.
Arto
On Thu, 27 Jan 2005, Roman Turovsky wrote:
And please, do NOT ever refer to me as the Count of Sarmatia.
But the new Queen of Ukraina (prime minister) seems to be a pretty
beautiful lady... ;) Congrats...
Arto
To get on or off this list see list information at
Dear lutenists
i'm not talking about the beauty of the bass (whatever that means),=20
what i talk about is the fact that most of us, lute players, preffer
a LONGER VIBRATING TONE.
I strongly doubt that! Many, perhaps most of us(?), used some time ago
the wound pyramid basses. Those modern
On Wed, 26 Jan 2005, Roman Turovsky wrote:
For that matter carbon is NEVER Used for the bass strings anyway.
Never say never! For years I have used carbon strings very successfully
in my French theorbo made by S. Barber. Works very well also for the bass
strings.
Arto
To get on or off
Dear Craig,
Does anybody have the mass and tensile strength values for carbon
fiber strings. (Saverez strings claim not to be carbon fiber so those
numbers won't necessarily work.) Thanks,
I use 1791 Kg/m³ for carbon (high density hydrocarbon polymer?)
strings in my calculator. Seems to
Hi Al and all,
On Fri, 21 Jan 2005, al fontana wrote:
I shipied the lute yesterday. I basically wrapped the peg box and neck =
in a layer of thin Bubble wrap.
I folded a small piece of BW and placed it between the button on the end =
of the lute and the case.
Then I put 1 piece of BW under
Dear lutenists,
I just changed Nylguts to the first 5 courses of my Barber/Berr 10 course
lute, and the feel and sound are very good. Especially and also playing
soft and quietly produces very beautiful sound; the useful dynamics range
is wide. If somebody happens to be interested, the Kg's
On Sat, 1 Jan 2005, Roman Turovsky wrote:
He announced on Friday that the United States would provide 10 times its
earlier $35 million offering an amount criticized as miserly for such a
rich nation
A newspaper wrote that this is the same amount of money that they use in
six hours of
Dear lutenists
I made some changes to my Who is who in the Lutenet page: Now there
are the dates the texts wer written, and there are thumbnail photos
of those, who have sent their photographs. Most of these thumbnails are
clickable for seeing a larger photo.
On Tuesday 14 December 2004 17:28, Roman Turovsky wrote:
Hålbus Totte Mattson does pagan scandinavian folk-rock on a 13-course
baroque lute, but I wouldn't think it advisable to draw a conclusion
of a Lappish lutenism from this.
There seems to be an old daguerrotype that propably represents
On Fri, 17 Dec 2004, Roman Turovsky wrote:
Arto, I am honored by the effort and energy you have put into your research.
RT
__
lappish lutenist or something like that, see
http://www.cs.helsinki.fi/u/wikla/mus/sautsekki.jpg
There is more enlightment on the aforementioned
On Wednesday 15 December 2004 23:29, Alain Veylit wrote:
I added a PDF version in Freedom Tablature also.
[...] Goran Crona's beautiful
transcription of Luys Milan's Maestro (vihuela solo pieces only)
from my site at http://cbsr26.ucr.edu/wlkfiles/ELF.html [...]
Many thanks Alain!
It took
Dear Alain,
you wrote:
[...] Goran Crona's beautiful
transcription of Luys Milan's Maestro (vihuela solo pieces only) from
my site at http://cbsr26.ucr.edu/wlkfiles/ELF.html [...]
Fine! Beautiful edition! Do you (or someone else) have a version of El
Maestro translated to Italian
Dear lutenists,
yesterday I got my copy of the LSA Quarterly XXXIX, No. 4. It was a very
nice surprise: about 70 lute arrangemants of Christmas and winter
holiday pieces! It will be very useful!
Many thanks to LSA, Dick Hoban and all the other arrangers, many of whom
are also LuteList
Well, I have one kind of moustache and something that in Italian is
perhaps called mosca. A littlelike Bellerofonte Castaldi in this
picture:
http://www.cs.helsinki.fi/u/wikla/mus/Castaldi.jpg
Not so long moustache, though:
http://www.cs.helsinki.fi/u/wikla/KarikatyyriMin.gif
Lutenists
On Fri, 10 Dec 2004, Wayne Cripps wrote:
If you want neusidler, I have neusidler - a major chunk of one of
his instruction books. Starts out real easy!
http://www.cs.dartmouth.edu/~wbc/tab-serv/tab-serv.cgi?neusidler.EinNew
This is just the page I was trying to find for Tim!
Dear Timothy
On Fri, 10 Dec 2004, timothy motz wrote:
Anyone know any easy
(really easy) but interesting music for a beginner? No more than two
voices, open strings on the second voice? Not too many shifts? I'm
still working my way through the early chapters of Damiani's tutor
but it's
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