Anthony
Le 24 août 07 à 14:45, Sean Smith a écrit :
Dear Anthony,
For Macs (10.3.9 and above), I might suggest the Strobe Tuner 1.5 for
$15 from Katsura Shareware
http://www.katsurashareware.com/strobe/strobe.html
Granted it's not free but it's the best and cheapest I could find when
my
. Or I have accompanied a recorder band and usually
end up strumming just so some sound can be heard.
For a sitting gig, a very small suction or clip-on microphone and a
small battery powered amp might be a good option.
On 8/5/07, Sean Smith [EMAIL PROTECTED] wrote:
Dear friends
..then Watkins Ale...and a few of those suggestive Toby Humes...
and then some more Watkin's Ale
On Aug 5, 2007, at 12:25 PM, Rob wrote:
How about 'Tickle Me Naked Wontonly'...?
Rob
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the best,
Sean Smith
On Jul 27, 2007, at 10:41 AM, Omer katzir wrote:
i heard about a book of Medieval solo pieces for lute. and now...I'm
looking for book like that.
any one can give me some info?
thank's all
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I've made my peace with straps and often play standing now. One thing that
helps is to use a wide belt that has ties. For these I scavange used clothing
stores.
On the peg box end of the strap I have strings (or thongs) that go to both
ends of the pegbox, ie, the 1st and 6th courses
Hi John,
Hooray! It's supposed to feel awkward at first --all changes of habit
do. It was a good idea to put the guitar on the back burner while you
suss this out --no sense in confusing your hand more than necessary.
I won't address all your concerns here (I have to leave for work soon
and
Dear Omer,
Welcome to a great topic --strings-- and one we often stretch to great
lengths.
A general rule of thumb is to add about 10 to 15 cms to your string
length (60 cms?) to the outside courses (being so close to the nut) and
maybe a little more on the strings in the middle (especially
Oh my
Relatedly, I remember a pair of Skeapings (Adam and ? ) playing on a record
of Dolly and Shirley Collins with David Munrow, Christopher Hogwood and other
revered EM folks.
Would she be a relative?
Sean
bill kilpatrick [EMAIL PROTECTED] wrote:
pc for all the
Dear Jim,
I don't have the book w/ me at work but I think they are hold signs. Usually
they are placed in the first strain and you're expected to remember them on the
(usually nearly identical) second strain. I think they show up in the places
one would expect a note to be held.
Nylgut, especially thin ones like the chanterelle or a 4th and 5th
octave, do go false after a few months or a year. Usually they sound a
little flat on upper frets. Contrarily, gut tends to go a little sharp
on the upper frets over time. An unfortunate combination. Gut with gut
at least goes
Wolfgang,
This looks very nice. Great pieces!
I should point out that Bernard Azencot posted this to the French lute net
and mentioned it in conjuction witht the LSA. It's not correct to call this the
LSA list (if that's what he meant). I may be mistaken how he's reading this but
Hi Stuart,
First Q: are you using gut, Nylgut or nylon on the top?
Andy Hartig and I each use nylgut on our chanterelles and never seem to
have a problem either at C or D (A-440) using Nylgut. His descant
(Larry Brown) is 44cm and mine (Martin Haycock) is 40cm. I'll admit,
his sounds a
Not an eta but 'ij' (two) which means: again.
While we're in the nitty gritty of Pete and Repeat, what is the origin
of ij? This evolved into our modern 'ditto' mark ( ), right?
Sean
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On Mar 6, 2007, at 10:41 AM, Doctor Oakroot wrote:
Is it actually 'II' (roman numeral) with a fancy hook? Is the modern
repeat sign from the same source?
I doubt it, Doc. In all renaissance prints I've seen, roman numerals
are invariably upper case type and the ij is always lower case. And a
Thanks, Arto. It has also existed as ii, of course. I regret not
studying Latin in my younger days.
As far as I know, it means iterate item; letters i and j were quite
the same in printing in those days.
All the best,
Arto
PS Once upon a time one singer was singing a baroque song
?
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: Sean Smith [EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Tuesday, March 06, 2007 3:19 PM
Subject: [LUTE] Re: Renaissance ditto/ij/ --was
Fuenllana Tan que vivray
Dear all,
On Tue, 6 Mar 2007, Sean Smith wrote
The Medieval Instrumental Dances by Timothy McGee is a very good
book. I bought it new for $30 about three years ago.
Sean Smith
Begin forwarded message:
Hi John,
- String length - is this commonly measured from nut to bridge on
lutes?
Yes.
- What gauges of strings would be used
Message - From: Sean Smith
[EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Monday, February 12, 2007 10:20 PM
Subject: [LUTE] Re: Petrucci
But take for example: Isaac's Benedictus which Jon Banks has used
in
several places as an example (and number one, in the Lute
But take for example: Isaac's Benedictus which Jon Banks has used in
several places as an example (and number one, in the Lute Society
publication) - bar 34 in the lowest voice. The Bb lasts four bars. Even
at a brisk pace, a very brisk pace or an outright gallop, a single
plucked note
I wasn't only thinking of the recercars. The Lute News supplement has
published some reconstructions of Pesaro by John Robinson including,
for
example, a long sprawling Bassadanza which doesn't seem to make a lot
of
sense.
Dear Stuart,
From our vantage point I'd say most of the
...a detailed comparison of Spinacino with originals.
Dear Stuart,
Here's an easy one to start with. If you still have access to the HH
Odh, look up Ha traytre amours by Johannes Stockem and compare it to
Spinacino's 'Haray tre amours' (Bk II, 15v). It's mostly faithful and
doesn't go all
.
Spinacino's intabulations can be a bit daunting at first but a
consultation w/ the originals can tell you what to look for (or drop
out). I've made simple intabs from the original chansons of many of his
settings and found that they are really quite helpful.
Happy hunting!
Sean Smith
On Feb 9
Rereading your note...Just measure from your bridge to 37 centimeters and see
what fret it lands on. Maybe an e flat?
Sean
Sean Smith [EMAIL PROTECTED] wrote:
Stuart,
I always lose count of the apostrophes. Do you mean a C: a tone below the
standard descant (D) lute? If so, I
didn't have the
string.
On Dec 19, 2006, at 3:22 PM, Stuart Walsh wrote:
Sean Smith wrote:
Rereading your note...Just measure from your bridge to 37
centimeters and see what fret it lands on. Maybe an e flat?
Sean
Sean,
Thanks for your help.But I'm not following you. If I measure
On Dec 19, 2006, at 3:15 PM, Stewart McCoy wrote:
|\
|
|
a
__1d___1c__1d__|__c__a_|_
__4f___4f__|__d__c__d__|_
___|e__|_
___|__a|_
__2d___|___|_
I cannot think of any other way of
Plant the Canon (93) under your fingers and water it everyday! Watch it
grow! Watch it change!
Not only is it a good warm-up and excercise but it has quite a bit of
good musical stuff going on.
How can I bring this out? How can I bring that out? Stop and look at
your fingers. Think about the
interesting, and
obviously gives insight into thumb-over in many metal string contexts.
Regards
Anthony
Le 30 nov. 06 à 22:59, Sean Smith a écrit :
Indeed, Anthony, there are many variables involved and I don't think
it's possible to rule it out or in. I only brought up the possible
Hello all,
I don't want to get caught up in the thumb--no thumb debate on the
6th course but there is another way out of the fingering dilemna of
Arthur's example from Francesco's Ricercar 27 (it also appears in a
Paladin' Milenesa Pavana m. 12-13 and probably elsewhere).
First I finger
?
In other words, this is more a question of historic reconstruction
and what the
Renaissance techniques might have been, than a call for every one to
click their thumbs,
as it were.
Best
Anthony
Le 30 nov. 06 à 19:21, Sean Smith a écrit :
Hello all,
I don't want to get caught up
even possible?
In other words, this is more a question of historic reconstruction and
what the
Renaissance techniques might have been, than a call for every one to
click their thumbs,
as it were.
Best
Anthony
Le 30 nov. 06 à 19:21, Sean Smith a écrit :
Hello all,
I don't want to get
I had to tune down to 415 recently and was impressed by the difference
in tone. I won't say it's better across the board but I liked many
things about it. It did bring out different flavors of the instrument
that I hadn't heard before.
Ed, I remember Toyohiko's playing from this summer and to
Is there any support for this sort of tension for renaissance
instruments?
Sean
On Nov 27, 2006, at 5:49 PM, Edward Martin wrote:
It is around 65% less than conventional stringing.
ed
At 05:08 PM 11/27/2006 -0800, Sean Smith wrote:
I had to tune down to 415 recently and was impressed
On Nov 27, 2006, at 5:49 PM, Edward Martin wrote:
It is around 65% less than conventional stringing.
ed
At 05:08 PM 11/27/2006 -0800, Sean Smith wrote:
I had to tune down to 415 recently and was impressed by the difference
in tone. I won't say it's better across the board but I liked many
a little retyping. ;^)
all the best,
Sean Smith
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On Nov 14, 2006, at 5:20 PM, [EMAIL PROTECTED] wrote:
--- Sean Smith [EMAIL PROTECTED] wrote:
It was easy to transcribe, both by hand and in
print. It allowed the
individual to transmit his own fingerings and
provided a diagram that
was easily absorbed by the brain at speed for those
Dr. Be,
I'm noticing some lint in the crevices on my belly
;^)
Sean
On Nov 2, 2006, at 5:35 AM, [EMAIL PROTECTED] wrote:
In a message dated 11/2/2006 3:27:29 A.M. Eastern Standard Time,
[EMAIL PROTECTED] writes:
from Kenneth Be, a conservator at the Cleveland Museum
of Fine
I believe Jacob's Warwick Frei is a bass lute tuned to D and is 72 cm. This
is based on a rebuilt baroque lute from an original bass 6c lute.
The basis for the ~62-63cm Frei lute is probably a different instrument thoug
I could be wrong. My usual duet partner has a 62 cm Frei body lute
Martin Shepherd [EMAIL PROTECTED] wrote:Dear All,
As Jacob's recordings using his Frei instrument demonstrate, there is no
reason why one should not play almost any Renaissance lute music on a
long lute - it's just a question of technique. As a maker, I am
constantly beseiged by people
reading the figured bass nowadays write a
lute/theorbo part like that?
I'm sorry, more questions than answers.
all the best,
Sean Smith
On Sep 24, 2006, at 8:18 PM, David Rastall wrote:
Hi Luters,
I've been looking on numerous websites to find out whether or not
theorbos were used
Dear Stewart,
That's what I thought too but I wonder about the parallel octave going into
m. 7. Usually Borono is more careful about this sort of thing.
Sean
Stewart McCoy [EMAIL PROTECTED] wrote:
Dear Jason,
I have been reading through some old Lute Net messages from August,
Thank you, David, but I'm still a little puzzled.
This is clearly a single line contrapunto lacking accompaniment. It
doesn't seem to accompany the previous Antico variations (Passemezzzo
-6 p.114) either.
I'm looking at the SPES facsimile (Firenze 1992) of his ms. that was
_intended_ for
.
all the best,
Sean Smith
On Sep 1, 2006, at 3:42 PM, Rebecca Banks wrote:
September 1st, 2006
Dear Lutenists:
I am having a Dieffopruchar Renaissance Bass Lute 6c.
constructed and
am wondering if I should have fixed or tied frets. What does it
mean to
have a tied
a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
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--
Freight). Of course a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[EMAIL PROTECTED] wrote
Freight). Of course a fiberglass analog one is cheaper and
works about as well and the traditional micrometer has no sharp edges.
all the best,
Sean Smith
[EMAIL PROTECTED] wrote: On Thu, Aug 31, 2006, Paul Pleijsier
said:
What is the rationale of diminishing fret height towards higher
bill,
I think that somewhere along the line, some of the family immigrated to
the US.
Sean
On Aug 24, 2006, at 9:21 AM, bill kilpatrick wrote:
does history relate the name of the officious twit who
suspected this theorbo? as they're born, not made,
his great-great-great-etc., etc. nephew
Jason,
I decided to try a strap at Paul Beier's suggestion. I went to a few
Goodwill stores in the area and finally found a 1.75 (40mm) wide black
lightweight leather belt. I cut the ends and put one large hole w/ a
slit in it to snugly go over the peg. I put two holes in the other to
run a
' something from the
other repertories.
many thanks in advance,
Sean Smith
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There's still the possibility you'd play it and sing inflammatory
lyrics.
Sean
On Aug 23, 2006, at 11:55 AM, Arne Keller wrote:
At 05:27 23-08-2006 -0700, Howard Posner wrote:
Arne Keller wrote:
I just heard that Pinchas Zuckerman was prohibited from taking his
Strad
along as hand
a reiteration of the D-chord root.
A quick look at the Pratum Musicum of 1584 showed quite a few 7th
course indications (short lines) but no 8ths. In both books the 7th
course is occasionally fingered.
Sean Smith
On Aug 17, 2006, at 11:36 PM, Luca Manassero wrote:
Thank you, Kenneth
Sorry, Donatella, I blame Hollywood. They had a great plan for a TV
show, then they spelled the title wrong and there were no German lute
players. Ever!
Sean
On Aug 10, 2006, at 10:13 AM, [EMAIL PROTECTED] wrote:
Can you guess how Weiss was spelled by someone here in California,
where I
Not only is nylon completely authentic but one eliminates all traces of
gut afterward!
s
On Aug 10, 2006, at 11:41 AM, EUGENE BRAIG IV wrote:
- Original Message -
From: Caroline Usher [EMAIL PROTECTED]
Date: Thursday, August 10, 2006 10:06 am
Subject: [LUTE] Francesco da Milano
Lately I've been knee-deep in the Marsh book but, lo and behold, there on p.
98 and again on 228
Got my pizza fixin's ready, Persieds lined up under a full moon (alas) and
we're good to go. Probably the closest I'll get to fishing is deciding against
the anchovies.
Sean
in the
Fronimo or perhaps an addition to an existing canzona, chanson or
madrigal.
Would anyone have information on this?
thanks in advance,
Sean Smith
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attract the finest
audience. And I'm sure the others would enjoy it too.
Face it, there is a sensual side to this music. When I chose a recent
cover for the LSA Quarterly I didn't realize the possible double
entendre but probably would have gone with it anyway.
all the best,
Sean Smith
On Jul
After Phalese stopped publishing his anonymous lute settings there
seems also to be a dialogue between the English and Adrianssen too.
Light of Love is nearly identical in Ad (Saltarello Englesa, 1584) and
the Board book. Conversely, the Pickering Battle duet borrows many
devices from A's
__
From: Sean Smith [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Subject: [LUTE] Re: Phalese's bookshelf
Date: Sun, 23 Jul 2006 09:26:45 -0700
After Phalese stopped publishing his anonymous lute settings there
seems also to be a dialogue between the English
or other 16th century compilers
That covers a lot of ground, David, namely most every amateur who kept
a notebook of things he or she copied from other printed books and
notebooks or even stuff he or she intabulated or came up with.
I'm looking at the cover of Andrea Damiani's
I wonder if the 1560 model replaces the previous 1553 version.
Sean
Edward Martin [EMAIL PROTECTED] wrote:
Incredible!
ed
At 06:09 PM 7/14/2006 +0200, LGS-Europe wrote:
When looking for info on Paladin's publication of 1560 I chanced upon this:
Paladin 1560
COAX CABLE TESTER
.
Perhaps apropos, last week at Cleveland, Toyohiko Satoh pointed out
that his top string was cow. The rest, sheep.
Good luck,
Sean Smith
On Jul 9, 2006, at 11:45 AM, Mathias Rösel wrote:
Steve Bryson [EMAIL PROTECTED] schrieb:
Hi everyone - I'm a long-time on-again-off-again amateur lute
)
_before_ moving it up to its permanent address. Wouldn't this keep the
knot tight as it moves?
A good topic to bring up now and then. A lutenist's dexterity ain't
just for the notes!
all the best,
Sean Smith
good luck
--
Dana Emery
To get on or off this list see list information at
http
Hi Gary,
I've always thought that about the Humorous Pavan, too. It certainly
fits with his 'humor'.
Sean
On Jun 1, 2006, at 3:38 AM, gary digman wrote:
Stewart;
Not to mention 37, 38 and 97. Number 43 A Humorous Pavan always
sounds to me like it has some Flow My Tears in it. Is it
Frets, like fruit, go bad but we usually catch them before they go
rotten. ;^)
I suspect they have worn to a fairly flat surface. It's the pristine
round surface that gives the best, cleanest tone and transfers the best
vibratory energy to the neck (there was a nice thread about this last
Sounds like a good line-up to me: got the early and late covered, the
long-time players, the johnny-come-latelys, serious big names, great
teachers and some seriously above-average concerts from names you've
always wondered about.
Then there's the other folks who show up: folks who ask good
. There should be more
than enough in the way of courses to keep you occupied unless your
interests are extremely narrow. The usual problem is having too much
to choose from and too little time.
Guy
- Original Message -
From: Rob Dorsey
To: 'Sean Smith' ; 'Lutelist'
Sent: Thursday
Cufflinks are fine --provided they don't flash, rattle or mar the
finish. It's sausage links that are frowned upon.
Sean
On May 8, 2006, at 8:40 PM, Edward C. Yong wrote:
Hiho Chaps,
Greetings from Singapore! I've been off the list for some years, but
am back
now - ready to learn much
it would be invisible in most
iconography. (my old Vandervogel lute has one, too)
Has anyone tried this? Was it successful?
Sean Smith
Vance Wood [EMAIL PROTECTED] wrote:
You are a funny man David. Levitateing Lutes, whoever heard of such a
thing-would
I would imagine he uses a thumb [6 feet] under technique here.
Ed Durbrow [EMAIL PROTECTED] wrote:
I was surprised to learn Pat O'Brien has been playing with Cannibal
Corpse since 1997.
http://en.wikipedia.org/wiki/Cannibal_Corpse
:-)
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
I'm glad you liked the issue, Arto. I couldn't find any lute-playing
tarantulas. ;^)
Sean
Arto Wikla [EMAIL PROTECTED] wrote:
Hi gang,
thanks for the LSA Quarterly I No.1! The interview of R. Savino
is very interesting! I was so pleased of Richards's comment on his
the lute mold is almost identical to building a half model (where the
carpenter would take his lines and measurements) except one only builds
half a hull. Like a lute mold, the half model is used over and over.
Sean Smith
On Apr 3, 2006, at 6:20 PM, [EMAIL PROTECTED] wrote:
David Rastall
On Mar 26, 2006, at 11:59 AM, [EMAIL PROTECTED] wrote:
¥ªí×~öÛôuõçÎ kÞº.Ö«È*'µéíO*^ém«·ö¥µêçjدyº.Ö«
This is what my playing sounds like w/ nails.
Sean
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Dear Ken,
This is very enlightening. It sounds like some stiffening under the 12
fret area should be mentioned to one's luthier when having an early
lute made. I've often played the glued frets and winced at the
intonation. Sometimes I wonder about their placement and alternately
wondered if
Dear Stuart,
Thanks! I've been tuning my descant lute to C and it sound like an easy
jump over to the guittern --when I get around to getting one. That
tuning makes a lot of sense. Do I understand the lowest string to be a
5th below its adjacent course? Btw, are these unison tunings? Is that
Thanks Daniel,
It seems that instruments with *parallel* strings often got more frets
on the neck. I'm thinking of guitars but this extends to citterns too.
Another parallel is that these are strummable instruments. Am I reading
too much into this?
Talking to Andy Hartig (shameless plug:
This is in his Regola Rubertina (1542). I'm sorry, Ed, I don't have it
in front of me for the details.
Sean
On Mar 16, 2006, at 3:14 AM, Ed Durbrow wrote:
On Mar 13, 2006, at 6:23 AM, Sean Smith wrote:
Ganassi (c1530) give lots of
different different tunings for viols w/ different missing
One could imagine the teeshirts of dancing terrapins (holding lutes)
from an LSA seminar a few years ago as an homage...
Sean
On Mar 15, 2006, at 7:05 AM, Craig Allen wrote:
Herbert wrote:
Typing early music festival into Google gives me the impression
that there are, perhaps, 15-40 of
On Mar 12, 2006, at 10:50 AM, bill kilpatrick wrote:
in a previous post from arne keller - no subject was
given but he was asking for notation advise - he says
that according to tinctoris, there was a change from
playing the lute with plectrum to plucking it with the
fingertips during the
/11/06 1:03 PM, Sean Smith [EMAIL PROTECTED] wrote:
Dear Arne,
I was just looking at Tinctors' single line 'solos' over popular
tenors
taken from the Segovia. (from his collected works. No, I didn't get
the
editor information but will next time if you'd like it). To my eye
it's
Banks (rightly) offers it in mensural notation --as it
was
in contemporary sources. You tune your lute as you see fit.
all the best,
Sean
On 3/11/06 1:03 PM, Sean Smith [EMAIL PROTECTED] wrote:
Dear Arne,
I was just looking at Tinctors' single line 'solos' over popular
tenors
taken
vihuelas w/ 10 tied frets and my ren guitar has 11.
Maybe that was the waisted instruments' lure
Sean
On Mar 12, 2006, at 2:03 PM, Stuart Walsh wrote:
Sean Smith wrote:
I think some pieces in Spinacino are modified 5c reductions since they
are high on the neck
I've just got hold
strings. That's a case where up-down-up-etc can get a little
funny
with beat emphasis. It can be tricky, but it can also make things a
little
easier. Good to mark the music to learn it.
Leonard Williams
On 3/12/06 3:33 PM, Sean Smith [EMAIL PROTECTED] wrote:
On Mar 12, 2006, at 10:50
decorated versions of 3-voice chansons so
perhaps w/ less decoration 4-voice songs were also possible.
I suspect that what we don't know about this era and the lute would
fill a very educational book.
all the best,
Sean Smith
ps, sorry if this is a duplicate; I didn't see it show up on the list
Dear Stuart,
From our modest first forays into reading this rep. I've found that
different size lutes help in the following ways:
a) They put the 'voice range' of the line in the center of the lute
fingerboard. When we consider that they probably didn't have roped or
great strings for the
My bass lute is only 68cm in string length. I put beefier strings on
it (ie, 6th course = ~1.62mm gut), tune it to D and it works fine.
Btw, a 6c A-lute is very nice but if you really want to enjoy a
sustaining voice, go long.
Sean
On Feb 20, 2006, at 7:29 PM, Daniel F Heiman wrote:
The
Daniel,
One thing that may be helping and is often overlooked is the thicker,
half-round neck shape. When I play a friend's 8-c nowadays that throws
off my sense of where my left fingers are in relation to my thumb as
much as anything else.
Sean
On Feb 18, 2006, at 1:15 PM, Daniel Shoskes
to understand
from the audience's point of view (the stereo effect helped immensely
as well as seeing who did what) than one lute accompanying her.
Sean Smith
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Hi Stuart,
A player w/ a 5 or 6 course lute could play at least any
two single voices of a composition and would have been useful in
consort (as well as part of a duo or a soloist and would probably have
been expected to be all three).
This wouldn't be so easy playing with a plectrum,
to music
notated in tablature. Music in staff notation is fair game too, even
if, at first sight, it doesn't look like lute music.
Hear hear.
all the best,
Sean Smith
*(The Instrumental Consort Repertory of the Late Fifteenth Century)
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http
those sycopated rhythms going. (And then the recorder
player brings out his Machaut book and my brain explodes!) I still
can't read as smoothly as tab but it's coming along.
all the best,
Sean Smith
On Feb 16, 2006, at 1:19 PM, Stuart Walsh wrote:
I've just got a copy of the Lute Society's
From this perspective, what should we make of Thos. Campion's Maske of
Flowers where nobility acted out and sang the parts?
Sean Smith
Herbert Ward [EMAIL PROTECTED] wrote: The social stigma attached to acting
had to do with its lowly origins,
a sort of form of beggary, even
or Spinacino book in
Italian. The A-R Terzi book is in Italian and so is Arthur Ness' Francesco.
Sean Smith
dc [EMAIL PROTECTED] wrote: Vance Wood écrit:
Most modern editions you find in print will use French Tab unless they are
facsimile editions in which case they are basically photo
10.3.9)
many thanks in advance,
Sean Smith
To get on or off this list see list information at
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I'd say the bridge placement and shell's wood choice and spacers look
WV as do the inlaid frets. On the other hand, the depth of the shell
and lack of the funky endclasp make me wonder. Interesting pegwork on
the 1st and 9th courses. Weren't WV strings traditionally held behind
the bridge
David,
http://www.omifacsimiles.com/mgencatalogs.html
Click on Lute/plucked. Campion is on p. 4
Best wishes for a good new year to all,
Sean
On Dec 31, 2005, at 2:19 PM, David Rastall wrote:
Are the lute songs of Thomas Campion still available in print? What
about commercial editions of
Roger,
Thanks for putting these out for us!
Concerning:
http://www.thecipher.com/braccio-
viol_MadreDeDeusRetable_early16th_deta.jpg
Does this count as a trio or a quartet? (a quintet if the closest
person is singing?) The idea of a pipe-and-drum player is well known
but I hadn't heard
ages.
Bruno
lutenist and various medieval instruments player
www.estavel.org
Sean Smith wrote:Roger,
Thanks for putting these out for us!
Concerning:
http://www.thecipher.com/braccio-
viol_MadreDeDeusRetable_early16th_deta.jpg
Does this count as a trio or a quartet? (a quintet
Thomas,
The songs are fun and you get to decide fast or slow, heavy or light.
There are two books in this group available from Minkoff: Libro Primo
1509/1977 and Libro Secundo 1511/1982. Were there some specific songs
you were looking for?
Each have a handful of short ricercares on the back
Aren't there versions of songs in the Pesaro-Ms?
Thomas
Not of the Parisian-chanson/Attaignant variety. As far as I know most
of the early Sermisy material comes from the Attaignant or Moderne
presses. There may be some in mss. and it might be best to check the
concordances in the
G'day Craig and all,
A few weeks I had a concert with my renaissance ensemble in a theater
and the hot spotlights gave me extreme tuning problems with metal
strings of my cittern, but my lutes stayed well in tune.
Now there's a testamonial one rarely hears about lutes. ;)
Given a room
Hi Craig,
Roped would be the 2- or 3- strand gut bass strings sold by Aquila
(V-gut), Dan L and others. I would definitely choose this over the
loaded gut but I haven't tried the gimped versions yet.
I'm not sure how gimped strings apply to pre-1580 music. I do know that
Ed Martin and others
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