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
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
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
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
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
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
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
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
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
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 p
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
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
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
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
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
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
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]
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
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
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]
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]
--
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]
--
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
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
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
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
>
>
>
>
>
>
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
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
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
"leuto
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),
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
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
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
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
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