Re: gut treble strings

Hello Martin, I thought I'd chime in since I string my mandolinos completely in gut, including the doubled chanterelle (tuned an octave above the standard lute treble at g''). Last year I spent several months going through every variety of .40mm gut that I could obtain with the same (remarkably c

Re: gut treble strings

Hmm... I seem to have been typing too quickly again :-) Eric ps - Tim, I don't hear alot of squeeking, though my use on a mandolino (rather than a lute) subjects the strings to thumb-out and nails, rather than thumb-under with the fleshy bits. I'm sure varnished strings have

Re: Antwort: Re: lute outreach -tuning..

I too live in NM (the southern part) and though it can be extremely dry, I have very few problems with gut strings. In general, I'm doing pretty well if I can keep the general humidity around 40% when its much lower outside. Of course, the summers where I live (an agricultural valley) can bring ve

Re: Concertizing in dry environments.

Hi Ed, I know at least one lutheir (Larry Brown) who does all of his building in a humidity-controlled setting. I know he's specifically taken my dry climate into consideration when doing work for me. And for what its worth... nothing he's ever sent has come apart on me... I'm sure other luthier

Re: lute outreach -tuning..

As I said before, I use Dan Larson's gimped strings for mandolino and archlute bases... and they seem to be very long-lived indeed. I personally like these strings very much. And yes, they are as you describe them. On Dan's earlier gimped strings the wire was often detectable on the surface of

Re: Schelle lute

Hi Eugene, I won't weigh in particularly but I'll share a few thoughts. As you know, I own one of Dan's mandolinos and I think it is a fine instrument for what it is. While it may not closely parallel an actual instrument, it is lightly and skillfully built using appropriate principals. I would

Re: French Lutenist about to release a worldw

Hello Mathias, That someone would have been me. There is indeed evidence that Vivaldi's smaller-scale pieces (RV82, RV83, and RV93; likely two trios and a quartet) were all composed while he was in Prague (circa 1730-31). These pieces bear a dedication to the Bohemian Count Johann Joseph von Wrt

[LUTE] Re: New Weiss CD

Minuetto a Mandola e Baso -- del Arcileuto I also remember Ray Nurse telling me (years ago) that there was an archlute case (from the Dolmetsch collection?) that had a little space shaped to hold a mandolino. Best, Eric --- Eric Liefeld (505) 526-1230 [EMAIL PROTECTED] -- To g

[LUTE] Re: Vivaldi

ember 13, 2007 0:08 am Subject: [LUTE] Re: Vivaldi Also works nice on 6 course mandolin, and archlute in mandolin tuning. On mandolin you have not the parallel octaves, and the modulating parts are easier with the open e string in the middle. As Eric Liefeld notes in his article for the LSA Quar

[LUTE] Re: Vivaldi

Hi Eugene, Another totally speculative possibility are the 5- to 7-course lute- sized things built to very deliberately mirror the aesthetics of 18th-c. 5- and 6-course mandolini. I've raised them here in the past and they have gotten some decent speculative chat; that should be archived

[LUTE] Re: Vivaldi

Hi Howard, The only caveat I'd add is that if you conclude Vivaldi intended, say, a gallichon in D because the music lies well under the hands on that instrument, you have to first assume that Vivaldi had a practical familiarity with the instrument of the sort that almost had to be acquired by p

[LUTE] Re: Vivaldi

Hi David, I just don't see a gap of any sort in the Vivaldi D major concerto when played on mandolin. Perhaps you can be more specific as to what the gap might be. I don't have the scores in front of me, but generally, if you assume the leuto part to be played at the upper octave (often doubli

[LUTE] Re: Vivaldi

Hi David, Thanks for your insights. I agree with your some of your points. I'm afraid I can't agree with the upper octave and use of continuo to accompany the liuto/leuto for RV82, RV85, and RV93. A continuo role *is* clearly intended for the leuto itself in RV540 (as he specifically instruc

[LUTE] Re: : Brescianello and Gallichon tuning(s)

Thanks very much for that Martyn, It probably goes without saying, but of course this material is quite playable by lute players too. Simply remove (or ignore) the top course on a G-lute... and poof!... a functional mandora/gallichon in D. Best, Eric Martyn Hodgson wrote: > > To get on

[LUTE] Re: Repetitive Stress Syndrome

Hi Craig, I can recommend a truely wonderful book called "The Trigger Point Therapy Workbook" (2nd edition) by Clair Davies. This very well-written book provides a range of techniques for treating overuse and trigger-point issues. The book is grounded in an understanding of the various muscles

[LUTE] Re: OT: things (not) to do in Teheran

Hi David, Thought this might be of interest. Iran's president has just banned all "Western" music from state radio and TV stations http://news.yahoo.com/s/ap/iran_music_ban;_ylt=AgEnk8lqn1ZZaCU_Kl49o26s0NUE;_ylu=X3oDMTA2Z2szazkxBHNlYwN0bQ-- Be careful eh? Eric LGS-Europe wrote: >Sorr

[LUTE] Re: Mozart?

That the Mozart mandolin pieces work well on the lute may be no coincidence. Though most have assumed that "mandolin" means the Neapolitan mandolin (in fifths like a violin), there is at least as much chance that these pieces were written for the gut-strung mandolino in fourths. I personally play

[LUTE] Body pain (was Re: lute straps)

how - or if - >> it could be done? >> >> I'm not having a go at strap-users; I'm just a bit >> puzzled - I have enough trouble keeping the thing in >> place when I'm sitting down. >> >> thanks, >> Katherine Davies >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > --- Eric Liefeld (505) 526-1230 [EMAIL PROTECTED]

[LUTE] Re: Body pain (was Re: lute straps)

And of course I mis-typed the link, try: http://www.triggerpointbook.com Sorry for the clutter. Eric On May 3, 2006, at 8:09 PM, Eric Liefeld wrote: > Dear Stephen, > > I was going to reply privately, but I'll broadcast here in the > hope this can help others. I

[LUTE] Re: Body pain (was Re: lute straps)

Thanks for that Denys. I too follow AT with interest, though I have no local practitioner to work with. I was fortunate to have a class with Jacob Heringman at an LSA seminar, a couple summers ago. It was a great experience. Interestingly, I asked him about chronic pain and he indicated that

[LUTE] Re: Dalla Casa (was Old Tuning)

d as archlute > transcriptions of originally accompanied mandolin works, or as > accompanied mandolin works leaving accompanists to sort out the > continuo? Any thoughts? > > Best, > Eugene > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > --- Eric Liefeld (505) 526-1230 [EMAIL PROTECTED]

[LUTE] Re: G.A. Brescianello 1690-1757 download

enna and Rohrau (Haydn's mother worked in the >>>> Count's kitchen!!). >>>> They >>>> probably were copied in Bohemia. Incidentally one of >>>> the >>>> continuo parts in one of the concertinos is for >>>> "Organo,"and that is a >>>> possibility that should be seriously considered >>>> when, >>>> say a Vivaldi >>>> concerto, is performed on lute(s) or guitar(s). Why >>>> have a plucked >>>> instrument competing with a plucked instrument >>>> (harpsichord). >>>> >>>> Getting back to the ":Solo." the lute part is >>>> notated >>>> in the treble clef, >>>> sounding an octave lower than written, and includes >>>> all of the necessary >>>> bass notes. But along with the lute part, is a >>>> continuo part in the bass >>>> clef with figures for a second instrument (2nd >>>> lute?, >>>> harpsichord? organ?), >>>> which might be doubled by a thrid instrument, a >>>> 'cello >>>> or gamba. So >>>> Stephen's suggestion reminded me that another >>>> possibility may be that there >>>> may be a lost continuo part for the Brescianello >>>> pieces. >>> >>> >>> >>> >>> >> >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> >> >> - >> Try the all-new Yahoo! Mail . "The New Version is >> radically easier to use" - The Wall Street Journal >> -- >> > > > > --- Eric Liefeld (505) 526-1230 [EMAIL PROTECTED] --

[LUTE] Re: Hip and Sting

he lute in it's own time? That the paying audience might have >> had some >> influence over this choice rather than the scholars? >> >> Lou Aull >> >> -- >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > Edward Martin > 2817 East 2nd Street > Duluth, Minnesota 55812 > e-mail: [EMAIL PROTECTED] > voice: (218) 728-1202 > > > > --- Eric Liefeld (505) 526-1230 [EMAIL PROTECTED] --

Re: Lute as a vanity

Martin Shepherd wrote: >I have heard it suggested that the painting was originally hung on a staircase, so >that someone standing at the bottom of the stairs (if it was hung on the left) would >see the skull "normally" and little else - another aspect of the symbolism? > > I was very fortunate

Re: Lute as a vanity

Martin Shepherd wrote: >In the Ambassadors the lute has the normal arrangement of octaves - it was the Berlin >painting which seemed to show the upper octave on the bass side. > This is not directly lute-related, but the lower double-strung course (G) of 18th-century Neapolitan mandolins are so

Re: Purpose of veneer.

I have heard (from Larry Brown, luthier) that hardwood veneers on archlute and theorbo necks indeed serve a vital function by allowing a stiff, but light-weight construction. Larry likens properly-built archlute necks to monocoque construction and has some entertaining stories about repairing (oth

Re: Vivaldi Lute Concerto

e would imply comedy and >cheese. I actually like the 5- or 6-course mandolino and think it achieved >a fairly high degree of "gravitas" in the first half of the 18th c...and >not only am I a humorless curmudgeon (not really), but I really only favor >cheese when it appears in burritos or alfredo. While I like mandolino, I >agree that it's not appropriate to Vivaldi except where Vivaldi himself >specified its use. > >Which of Vivaldi's concerti are you to play, Stewart? Eric Liefeld wrote a >fine article on this very topic (Liefeld, E. 2002/2003. Pondering Vivaldi's >Leuto. LSA Quarterly, 28(1): 4-8). I'll defer to him for a proper reply. > >Best, >Eugene > > > > > >

Re: Vivaldi Lute Concerto

Hi Kenneth, (I think/hope that I have my bizzare formatting problems solved... my appologies to the list!) [EMAIL PROTECTED] wrote: > > I am not an expert in this area, but I CAN say that recently I saw and > heard a beautiful gallichon (in E?) built by Paolo Busato and owned by > Davide Rebu

Re: Vivaldi Lute Concerto

Hi Howard, Just to be clear (probably a nit), all of the original leuto parts are melodic and written in the treble clef (not specifically basso continuo). In RV82, RV85, and RV93, the leuto parts are continuous throughout along with the violin part(s). The exception is the later RV540 where the

Re: Vivaldi Lute Concerto

Hi Eugene, >Paul O'Dette most certainly _not_ record Vivaldi's lute works that way >now. Yes, his recording of the Vivaldi did use 6-course mandolino. Works >to specify "mandolino" were recorded on mandolino played with a plectrum; >works to specify "leuto," on a mandolino played fingerstyle.

Re: Vivaldi Lute Concerto

Dear Jurek (please forgive me if I've gotten your name wrong), Thank you for your note. Rest assured that I respect both your opinion and your skepticism. The latter is certainly a healthy thing. You have correctly re-stated that I offer the mandora only for _consideration_ as Vivaldi's "leuto

Vivaldi and Cage...

Actually, it just occurs to me that the leuto part for the tutti sections of RV540 are *identical* to the music (4'33") left by John Cage So here, at last is a transcription for lute... :-) Eric Eric Liefeld wrote: >Hi Howard, > >Just to be clear (probably a nit),

Re: Focus ...

This is a fascinating topic and some things Vance said remind me of how I think it works for me. Yes, driving a car is second-nature to most of us and we don't even think of all the complex little motions it takes. But remember how hard it was to learn to drive a standard transmission at first? I

Re: Electronic tuners

Hi Ed, My understanding is that the resonant frequency of a volume (such as a lute or guitar) is a function of both the volume, and the size of the sound hole. So yes, in theory, a luthier could adjust the frequency somewhat by varying the size of the rose... though all the frilly bits might make

Re: Electronic tuners

ometry of the bowl, I doubt that luthiers >would spend so much money on tonewood, nor would they go through the sort of >elaborate tuning process that Bob Lundberg describes in his book. > >Guy > > >- Original Message - >From: "Eric Liefeld" <[EMAIL P

Re: lute strings (durably)

Dear Mimmo, Your last e-mail makes considerable sense to me. I've been experimenting with a gut top course on the mandolino (g'' with a .4mm polished gut string). These strings generally last very briefly, a day or two for some... a few hours for others. Your notion that polishing the string sm