I wonder whether someone would be so kind as to send me a
drawing/template of a treble rider for a 13-course lute, I am in the
process of building the pegbox.
Many thanks
Nigel
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I remember recently a kind lute player had put a selection of treble and
ground lute duets on his or her site, could someone please point me in
the right direction?
Many thanks
Nigel
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Rob MacKillop wrote:
Regarding the 8c/7c question, there are many players who switch the
lower two courses around, so you have a 'normal' 7c with the 7th course
at D, plus an extra F on the 8th course. I haven't done this myself,
but wonder if it is a good idea?
Rob
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To get
Nicolás Valencia wrote:
Dear All,
I've recently ordered a 13-course baroque lute beautifully decorated
with a fretwork at the back of the peg-box. However, I'm still
hesitating if this is the right choice. My question is: does it affect
the peg-box strength and therefore could it be
Rob MacKillop wrote:
Other break-in methods include buying it a present on its birthday,
setting a place for it at the dinner table, tying tinsel on it at
Christmas, and, yes, allowing it to sleep with you when it is feeling
low.
Follow this, and your lute will love you forever.
Anthony Hind wrote:
Dear Lutists (or should I say lutenists?°
I apologize for replying to my own message, but early
this morning, I realized that a recipe from Benjamin Narvey for
speeding up and improving the breaking-in of a lute, does imply
that this process is, in some
I am currently working on the C major suite in the Tree edition of 6
Weiss suites (the one that begins with an entrée, suite 12) but the last
few bars are missing from the courante. Peter Lay from the English Lute
Society says they were damaged but exist in another copy, the Das Erbe
Deutscher
I have been sent the missing Weiss bars, so please do not go to any
trouble to find them. (thanks anyway if you were going to look)
Nigel
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Beginning to get a bit fed up with heluth. Does he/she know how to use a
computer?
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I was wondering what tension people put on the 2 bass-rider strings of a
13-course lute. I have been putting around 2.4 Kg bass and 2.2 octave,
it seems a bit slack (the other strings around 2.8 and 2.6)
Thanks
Nigel
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Sorry, this is not lute stuff, but a friend has asked me to find the
score of any Spanish or Portugese Follia or Chaconne for solo
harpsichord for a concert she is playing in soon.
Any ides anyone?
Thanks,
Nigel
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I have been asked to play theorbo accompaniment in Bach's Actus Tragicus
cantata. The performance will be in F rather than Eb (for the recorders).
Does anybody have a score of the work in F with the figured bass?
Thanks
Nigel
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Just out of interest, what size chitaronne do you think Piccinini was
playing when he wrote his pieces? I used to have a 92cm chitaronne and I
can tell you not many of those pieces are playable on a monster like
that. The theorbo I have now measures 85 cm and even then a lot of the
pieces are
Talking of stringing, where does the idea come from of having the octave
string on guitars uppermost (i.e. towards the ceiling). It seems common
practice.
Nigel
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What strikes me about the pitch we tune baroque lutes to is that it
seems to depend on 2 or 3 cms of string length (67 to 69cm = 415 / 71 to
74cm = 392).
On the other hand, if you look at theorbos most are tuned to A 440 or
415 whatever the size. I have played theorbos measuring 74 cm up to 99
Any ideas for pieces with baroque lute (13-course) and treble recorder?
Most of the chamber music repertoire seems to be for flute/violin +
Cello + lute.
Nigel
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Anthony Hind wrote:
Arto
If the Rauwolf is a key to the question, David is right, and old
wood seems to go on improving. I was told that flat soundboard
instruments can suddenly die, but the Rauwolf's soundboard is a few
hundred years old. They can also be resound-boarded if there is
Daniel Shoskes wrote:
On Dec 2, 2007, at 4:40 AM, Nigel Solomon wrote:
Admitedly I was using wound strings (has anybody ever tried
keeping 24 gut strings in tune successfully
for the time needed to play a single Weiss courante?).
That is what I find interesting though. Long gut
with, as compared to wound
strings.
ed
At 10:40 AM 12/2/2007 +0100, Nigel Solomon wrote:
(has anybody ever tried keeping 24 gut strings in tune successfully
for the time needed to play a single Weiss courante?).
Edward Martin
2817 East 2nd Street
Duluth, Minnesota 55812
e-mail: [EMAIL
Looks like he wrote for a small lute (in A?) looking at some of the
chord shapes and hand stretches.
Has anybody played these pieces on a larger (60 - 64) lute?
Nigel
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Benjamin Stehr wrote:
Hi Steward,
i choosed a tension that works well in 440 on the extension of my theorbo.
Changing to 415 caused the 8th course to touch the fretboard when playing
very loud, but putting something under the saddle on the extension (about
1mm) increased the forward pull on
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
Nigel
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Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with fingerboard lengths under 60
cm and
Roman Turovsky wrote:
Are any single strung? All of the existing liuto attiorbato, to my
You might have missed
http://en.wikipedia.org/wiki/Ang%C3%A9lique_%28instrument%29
knowledge at least, are double strung on the fingerboard and most are
double strung on the diapasons as well.
I'm
My theorbo is 85/170, I'm thinking of putting 5 kg string (the 4.2 I
have at present seems a bit low). How much tension do people put on
their large theorbos?
My idea would be to put 5 kg for 440 and keep the same strings for 415
(which would give around 4.5 kg), which is the pitch I keep it at
Talking about Nylgut, does everybody calculate tensions as for gut or do
they add a little more (i.e. 0.40 gut = 0.42 Nylgut)
Sometimes the tensions with Nylgut can feel a little slack to me
Nigel
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. 40 people). Please contact me
if you would like details.
Nigel Solomon
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