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
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 Quarterly (sitting
in a hotel far from home, I don't have the citation on hand, but
hopefully he'll happen by to comment
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
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
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
-- 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
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Eric Liefeld
(505) 526-1230
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- The Wall Street Journal
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Eric Liefeld
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Eric Liefeld
(505) 526-1230
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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
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 too suffer from a variety
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
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:
Sorry
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
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:
snip
To get
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
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
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
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
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
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
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?
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
in his book.
Guy
- Original Message -
From: Eric Liefeld [EMAIL PROTECTED]
To: Ed Durbrow [EMAIL PROTECTED]
Cc: lute list [EMAIL PROTECTED]
Sent: Sunday, January 18, 2004 12:34 PM
Subject: Re: Electronic tuners
Hi Ed,
My understanding is that the resonant frequency of a volume
Hi Kenneth,
(I think/hope that I have my bizzare formatting problems solved...
my appologies to the list!)
[EMAIL PROTECTED] wrote:
snip
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
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
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.
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
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
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
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