Am 22 Aug 2004 um 16:28 hat [EMAIL PROTECTED] geschrieben:
> Perhaps not unrelatedly, I
> get the impression that trumpet players, or violinsts,
> or (especially) pianists are a little bit bemused as
> to why anyone would want to be spending time playing
> the _lute_.
After a bit of lute duet
Am 23 Aug 2004 um 18:37 hat Joachim Lüdtke geschrieben:
> What did Basho write:
>
> Lonely lute outside.
> Joe's playing a Dowland piece.
> Fast: close the windows!
Couldn't hardly stand those limericks anymore! :-)
Finally: The lute
reveals its secrets even
to cornett players.
Regards,
St
ways try a clerihew:
>
> Stephan Olbertz
> Hat großen Schmerz.
> Ihm gefällt leider nicht
> Romans Limerick-Dicht.
>
> Best wishes,
>
> Stewart McCoy.
>
>
> - Original Message -----
> From: "Roman Turovsky" <[EMAIL PROTECTED]>
> To:
Am 30 Sep 2004 um 12:10 hat Ed Durbrow geschrieben:
> >By the way, the left-hand fingerings in _Varietie_ do not involve
> >fancy barrés with fingers other than the 1st finger. For example,
> >_Varietie_ gives
> >
> >__1b_2d___
> >__3c_4f___
> >__2c_3f___
> >___
Dear Thomas,
of course Roman was the first to answer :-)
I already have the Rosani and enjoy myself with Partita
II right now. Nice and easy galant music!
Best wishes,
Stephan
Am 23 Oct 2004 um 0:29 hat Thomas Schall geschrieben:
> Take a look at the Sautschek site.
> The Rosani book is also
Maybe a flat-back mandolin. You find them a lot on
German ebay...
Stephan
Am 16 Nov 2004 um 23:35 hat Stewart McCoy geschrieben:
> Dear Garry,
>
> Did you come to any conclusions about the possibility of luthiers
> using Spelk-like planes to run off lute ribs quickly and cheaply? The
> thread
Dear all,
this thread led me to re-read Segerman's article on his
website at
http://www.nrinstruments.demon.co.uk/LuSt.html
Apparently he is postulating low tension stringing and
close to the bridge playing for years.
However, lowering the pitch with nylon stringing to my
ears and fingers sti
Dear all,
it has been argumented that playing close to the bridge
produces better (brighter) basses. However, it occurs to me
that the extreme thumb-out positions we see on old paintings
result in darker basses and brighten the sound of the upper
register. If the aim had been to brighten the b
Dear Francesco (and all),
just a few further thoughts, sorry for answering lately.
Francesco wrote:
> Perhaps they decided to change to thumb out for other technical
> reasons. I guess it's simpler to play thumb out with many courses, due
> to the much wider distance the thumb must reach, and
Am 5 Dec 2004 um 6:27 hat Daniel Shoskes geschrieben:
> No, you are right. That is a site I only visit on my Mac using Safari
> with pop up blocking on and Pith Helmet revved up. It is clearly
> malicious to PC's
To IE's, I would say. No problems with Opera...
Stephn
>
> >Dear lute netters,
>
Normally people like you give away free bibles. How
about a free viol? :-)
Stephan
Am 7 Dec 2004 um 22:16 hat Roger E. Blumberg
geschrieben:
>
> - Original Message -
> From: "rosinfiorini" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Tuesday, December 07, 2004 5:20 PM
> Subje
If shaving only every two weeks counts for a beard, I have one
too...
Regards,
Stephan
Am 12 Dec 2004 um 23:23 hat Stewart McCoy geschrieben:
> Dear Roman,
>
> I am aghast at the thought of a beard tax, which you mention in
> connection with Peter the Great. A great many lutenists today have
> It is so funny, but to me reading Luys Milan tabulature is nearly
> impossible! When I see number tabulature, I can read it only in the
> Italian way... ;-)
Dear Arto,
same with me. I'm always confused when some students come up
with guitar/folk/Valencian tablature. :-)
Regards,
Stephan
Additionally, it helps to keep the last finger joint flexible,
at least with low and normal tension strings. According to
Pujoll, who played without nails too, the index should stand
upright on the string. For comparison: Segovia's technique
(nails) would be to play over the left side of the fi
> > Tinctoris' "De Inventione et Usu Musicae" of 1487, that refers to
> > older and current wire strung instruments is an obvious forgery.
Says who?
Stephan
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Am 16 Dec 2004 um 11:10 hat Alain Veylit geschrieben:
> By the
> way, how many lutenists does it take to change a light bulb?
>
Two! One who changes the bulb and one who explains it to the
charango player.
Stephan
To get on or off this list see list information at
http://www.cs.dartmouth.e
Dear Carl,
this is quite interesting (although nails do not prevent such a technique,
it all depends on filing and various angles). Did he teach the end joint to
be flexible or not?
And how do our best thumb-outsiders on the baroque lute (North and others)
deal with this detail
Today I discovered another very detailed article by Segerman
on lute sizes, string tension and what it's all about, it's
at:
http://www.nrinstruments.demon.co.uk/prepub.html
Nothing for a quick read-through, though...
Regards,
Stephan
To get on or off this list see list information at
http:/
ight hand in action on the
> LSA "Downloads" page (unfortunately no sound included).
>
> http://www.cs.dartmouth.edu/~lsa/download/index.html#video
>
> Daniel Heiman
>
> On Fri, 17 Dec 2004 18:36:22 +0100 "Stephan Olbertz"
> <[EMAIL PROTECTED]>
Am 19 Dec 2004 um 17:26 hat Mathias Rösel geschrieben:
> well, there certainly is a pun in the naming. I had to look up German
> spitzbart, which is that very beard I was referring to, in my
> dictionary and there it was: goatee. I suppose there wasn't much
> difference in pronounciation of goate
there.
>
> Best wishes,
>
> Denys
>
> No beard, incidentally! :-)
>
>
>
>
>
>
>
> - Original Message -
> From: "Stephan Olbertz" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Sunday, December 19,
t it flex.
>
> Of course my meager technique is nothing remarkable.
>
> Best,
>
> Eric
>
> Stephan Olbertz wrote:
>
> >Oh yes, thank you! Apparently he leaves the end joint fixed,
> >that is to say: it's not bent passively in the opposite
> >
Dear all,
I'm in the process of calculating different options for a set
of gut strings. It seems clear that people favour quite a
diversity of set-ups like equal tension, slowly decreasing
tension, general high or low tension, higher tension for long
stringlength etc. What I cannot understand
t; schrieb am 20.12.04 16:23:07:
Stephan, et al.,
The end joint is usually bent slightly inward - into the stroke - which
gives strength, but at the same time makes it easier to do a good free
stroke.
-Carl
--On Friday, December 17, 2004 6:36 PM +0100 Stephan Olbertz
<[EMAIL PROTECTED]>
f the finger and hand typically should bring it back very
> quickly to the original starting position. An excess of tension
> sometimes interferes with this rapid relaxation/return, so that's also
> something to watch for.
reasonably close results ):-)
>
> Hope this helps,
> Alexander
> www.vihuelademano.com
>
> - Original Message -
> From: "Stephan Olbertz" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Saturday, December 20, 2003 10:17 PM
> Subject: lu
Am 25 Dec 2004 um 11:46 hat Ed Durbrow geschrieben:
> >is there a definitive key or
> >legend to the various lute manuscripts? In other words, is there one
> >document which decrypts them ? ( e.g. Board MS ).
>
> Maybe H. Brown Instrumental Music before 1600 could help?
Brown is about printed
I'd say: space slightly!
Regards,
Stephan
Am Mon, 7 Feb 2005 23:54:59 - schrieb <[EMAIL PROTECTED]>:
> I may have posed this question to the list in the past, but perhaps it is
> time to
> do so again.
>
> My admitedly limited survey of historical printed sources shows a diferent
> approach
Dear all,
I have some questions concerning temperaments:
1. Do most meantone players set up their lute in 1/6 syntonic or pythagorean
comma (Silbermann)? (For clarification: The latter is the same as 2/11 syntonic
comma but sadly often refered to as "1/6 comma meantone", which implies a
fracti
Dear David,
thanks for your answer. You wrote:
> Jägermeister III. I have to play irregular temperaments occasionlly.
> Werckmeister-variants, 'Bach' temperament (...?); things harpsichordist
> invent. I can do this a little when playing continuo, because I can choose
> which notes to use and whi
Am Tue, 15 Feb 2005 12:57:11 -0500 schrieb Vance Wood <[EMAIL PROTECTED]>:
>> I also wonder why FDM didn't just play it the
>> "logical way" (to me anyway):
>>
>>1 1.2 0
>> David: Because it clouds the voice leading. Understanding that it is
> probable that Milano use Octive
Dear Thomas,
you wrote:
> Probably larger instruments did
> exist, yes, but it's not wrong to asume he would have played the most common
> instrument of his time, too.
While it is often said that A-Lutes were common in 16th century Germany
(wherever that was) it's news to me that this should ha
Doc, David,
what keeps me from actually buying Finale is the fact that they want to get
paid every year for an update with features noone needs ("Create scale execises
with one click!" etc.). Concerning the difficulty of the programme: I once
heard that the reason for this was that Finale came
Am Mon, 14 Feb 2005 07:53:39 +0100 schrieb LGS-Europe <[EMAIL PROTECTED]>:
>> 1. Do most meantone players set up their lute in 1/6 syntonic or
>> pythagorean comma (Silbermann)? (For clarification: The latter is the same
>> as 2/11 syntonic comma but sadly often refered to as "1/6 comma meantone
Hello Thomas,
you wrote:
> Dear Stephan,
>the term A-Lute seems to be misleading this time because it suggests a
> absolute pitch.
Right.
> Actually my position is that the common lutes were smaller in the first
> half of the 16th century than they were at the end of the 16th century.
This ma
Dear all,
I just returned from my first real continuo gig ever (in an all Monteverdi
programme and still on my 8-course) and I must say, I began to feel what people
like about playing continuo. It was such a great joy and it gave me the creeps
for the first time in a concert I was involved myse
Am Sun, 20 Feb 2005 19:28:29 -0500 schrieb Roman Turovsky <[EMAIL PROTECTED]>:
>> Roman, you and I have not always seen eye to eye, but yesterday I viewed
>> your website devoted to your own paintings. What a talented artist you are
>> (of, course, you don't need me to tell you that)!
I second th
--- Weitergeleitete Nachricht ---
Von: "Stephan Olbertz" <[EMAIL PROTECTED]>
An: "Dr. Marion Ceruti" <[EMAIL PROTECTED]>
Betreff: Re: The 'perfect' instrument?
Datum: Sun, 27 Feb 2005 00:28:45 +0100
Dear Marion,
have a look at
http://www.herm
Dear all,
anyone s*bscribing Early Music will already know about a fascinating "new"
solution of an old problem: Bach's well-tempered tuning is supposed to have
been revealed from hints in his own hand. See the author's webpage at
http://www.larips.com/
I had no problems downloading from there
Am Wed, 2 Mar 2005 22:47:03 - schrieb Denys Stephens <[EMAIL PROTECTED]>:
> It would be great to find a box full of
> Petrucci's type in a forgotten store room of a museum,
It's right beside the box with a certain lost Petrucci print...
Stephan
--
Erstellt mit Operas revolutionärem E-Mai
Am Wed, 9 Mar 2005 00:35:32 +0100 schrieb Thomas Schall <[EMAIL PROTECTED]>:
> We know that Weiss played continuo. The tuning is not certain.
> Baron's remark on page 131 of his "Untersuchung" suggests that the theoboes
> of his time would have been tuned similar to a baroque lute to avoid
> "rel
would be interesting to know who infact does set up his baroque lute
unequally, and how. I recently asked something like this and got just one
answer in favor of ET.
Please feel free to educate me...
Best regards,
Stephan
>
> Best wishes,
>
> Martin
>
> Stephan Olbertz wr
Am Wed, 9 Mar 2005 12:07:59 + (GMT) schrieb Benjamin Narvey
<[EMAIL PROTECTED]>:
> It is absolutely clear that the German therobo was in d-minor tuning.
> Baron
> makes this clear in the Untersuchung. He says it is tuned in the "neue
> Lauten-
> Stimmung", i.e., the accords nouveaux:
Am Wed, 09 Mar 2005 11:04:14 +0100 schrieb Stephan Olbertz
<[EMAIL PROTECTED]>:
> I always thought that the problems are:
> 1. to get the minor third between the first and second/fourth and fifth
> courses into the tuning system and
> 2. doubling A-d-f in the high octave
Am Thu, 10 Mar 2005 07:35:19 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
>>> I always thought that the problems are:
>>> 1. to get the minor third between the first and second/fourth and fifth
>>> courses into the tuning system and
>>> 2. doubling A-d-f in the high octave means doubling th
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
> The meantone was likelier in a church setting, because the organ might
> have
> stilll be tuned that way. The opera had no organ, therefore no meantone.
> By
> 1700 opera would modulate sufficiently to forget ab
Dear all,
this came back with a strange formating, so I send it again. My apologies!
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
> The meantone was likelier in a church setting, because the organ might
> have
> stilll be tuned that way. The opera had no organ
Am 28 Mar 2005 um 19:50 hat Michael Thames geschrieben:
>DAS used Lundberg as his main source of info. Lundberg stops short
> of the goal, concentrating only on Edlinger, and his conversion lutes,
> dismissing Heir Hoffman as building inferior lutes, the whole time
> ignoring, the late
Am 29 Mar 2005 um 22:53 hat Sean Smith geschrieben:
>
> Maybe the higher math of just where to place those frets (and how many)
> never seemed to impress them. Number of strings and fingers are always
> right but frets... dang!
>
Interesting though that the right lute has a slanted first fret
Am 30 Mar 2005 um 8:24 hat Roman Turovsky geschrieben:
> Stephan,
> you are reading too much into it. The lute stage-right has frets fanning
> out, but I'm afraid it wouldn't be temperamentally justified.
> I wouldn't trust Montagna's "lute design" too much, as he was too fine a
> designer, and kn
Dear Jason,
yes, I have read the article and have since been waiting for the second part.
No, it
doesn't (and cannot) work with lutes in whatever tuning, as they are very much
limited
to regular tunings like equal temperament and the various meantones. However,
as
the naturals f, c, g, d, a,
Am 6 Jun 2005 um 23:33 hat G.R. Crona geschrieben:
>
> Otherwise, I think it would be very interesting, to make an inventory of the
> pieces in the collected lute canon there are for 5 course lute (and also 5
> course vihuela for that matter - i.e Mudarra?), as they imply works that
> are from
Funny, just yesterday I had a tapping-link exchange with a friend...
http://www.youtube.com/watch?v=Bb9cidk0Bfs
Bach the other way (maybe you know him already):
http://www.youtube.com/watch?v=mm8nbGzN3us
With built-in percussion:
http://chickencrap.com/v.php?v`
Mixed with some evil rasguados:
http
Am 7 Apr 2007 um 18:13 hat Daniel F Heiman geschrieben:
> Should the LSA digitize all the films in the Library? Nice idea.
> Requires quite a bit of (volunteer?) time by someone. Then what?
> Sell them on CD or by file download? May run into objections from
> the libraries that own the origin
Apart from the musical differences Bonavita's playing position
certainly looks healthier. Nomen est omen :-)
Regards,
Stephan
Am 21 Apr 2007 um 15:37 hat Mathias Rösel geschrieben:
> <[EMAIL PROTECTED]> schrieb:
> > I thought both Lislevand's and Bonavitas'
> > performances were nice.
>
>
By looking through the Utorpheus pages I noticed that they have a brand new
Holborne edition available. Can anyone imagine why this would be necessary in
our
small lute world? We have an excellent one by Rainer aus dem Spring, published
by
the English lute society!
Regards,
Stephan
Am 20 Ma
s a
> transcription into staff notation. Rainer's edition gives tablature
> only, so the new edition might appeal to people who can't read
> tablature.
>
> Best wishes,
>
> Stewart McCoy.
>
> - Original Message -
> From: "Stephan Olbertz&q
I read somewhere that it was still used as a continuo instrument in
17th cent. Germany.
Regards,
Stephan
Am 30 May 2007 um 14:48 hat Cotton, Christopher geschrieben:
> Dear Lutenists,
>
> I am a high school English teacher in Shaker Heights, Ohio, and I am
> doing research on the bandore. I
Am 16 Jun 2007 um 8:31 hat [EMAIL PROTECTED] geschrieben:
> I just met the
> other day with a highly competent classical guitarist
> who could not remember for the life of her how to
> finger a B minor chord.
Excuse me, but isn't that a contradiction in itself? How can someone be highly
compet
Am 4 Jul 2007 um 10:55 hat Arthur Ness geschrieben:
> What is needed is a central clearing house (like
> Magnatunes for CDs) for these
> specialized lute publications being issued by the
> societies, and persons like Dick Hoban, Albert Reyerman,
> Andi Schlegel,
> Richard Darsie et al.
Hi Arth
Dear all,
there is a nice version of Dowland's Suzanna/Lisle's/Bucton's Galliard in an
anthology of 5-
part instrumental dances by Füllsack und Hildebrandt, Hamburg 1607. See:
http://www.icking-music-archive.org/ByComposer/Fullsack.php
Ward (A Dowland miscellany) doesn't mention the setting, and
spectable lute quartet arrangement of
> the piece without too much difficulty.
>
> Best wishes,
>
> Stewart McCoy.
>
> - Original Message -
> From: "Stephan Olbertz" <[EMAIL PROTECTED]>
> To:
> Sent: Tuesday, July 17, 2007 11:37 PM
Am 23 Jul 2007 um 10:39 hat David Rastall geschrieben:
> And now after 35 years of lute revival, we seem to be exploring thumb-
> out again. Pretty soon we'll be ready to agree that Julian Bream
> was right after all. ;-)
That would give us some more doubling or converting guitarists, whic
I just found some pictures of an original (but converted) Raillich lute with
the gut strings still
attached. I wonder if our string experts had the oportunity to examin them...
http://www.zupfinstrumente-emmerich.de/English/index.htm
Regards,
Stephan
--
To get on or off this list see list in
e,
> Mimmo
>
>
>
>
> _
>
> Aquila Corde Armoniche S.a.s
> www.aquilacorde.com
> Phone +39 0444 986972
> Fax +39 0444 989399
>
>
> - Original Message -
> From: Stephan Olbertz
> To: lute@c
Am 24 Jul 2007 um 2:50 hat gary digman geschrieben:
> Does somebody have a problem with playing both or even more instruments, not
> necessarily at the same time, "not that there's anything wrong with that"?
As far as I can see, lute and guitar are as seperated in the conservatories and
so on as
Wolfgang Emmerich, that is...
Am 25 Jul 2007 um 9:27 hat Stephan Olbertz geschrieben:
>
> I noticed that the link was not complete: try
> http://www.zupfinstrumente-emmerich.de/English/index.htm?News.htm
> and scroll down. It's in the news section of Lothar Emmerichs web pa
s are his own arrangements.
>
> BTW, Paul's CD is also available on iTunes:
> <http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?
> id=256989709&s=143441>
>
> DS
>
> On Jul 29, 2007, at 7:10 AM, Stephan Olbertz wrote:
>
> > Interesting tha
Andy,
don't buy the cheap stuff from Pakistan (Hobgoblin). Really! I don't know if
the no-name lutes
sold by EMS are any better, but I would advise to save your money and get a
student lute by
(e.g.) Ed Greenhood in the US, Renzo Salvador in Belgium, Kai Schupp or Renatus
lechner
in Germany,
I'm not used to this terminology, but shouldn't it be f4? F over middle c, that
is (sometimes
written an octave higher like in guitar notation).
Regards,
Stephan
Am 22 Aug 2007 um 21:59 hat Jim Abraham geschrieben:
> Hi All,
>
> Received my new lute Tuesday from Luciano Faria. It's verrry ni
Playing with a capo does in my ears change the colour to a more lute like one
(less
fundamentals in the sound), however I would use the second fret, so that the
markers are still
in place ;-)
Regards,
Stephan
Am 13 Nov 2007 um 19:38 hat Daniel Winheld geschrieben:
> And why wouldn't it work
In case someone doesn't know it, there's an enjoyable paper by Ross Duffin
online:
"Why I hate Valotti (or is it Young?)":
http://music.cwru.edu/duffin/
Regards,
Stephan
Am 19 Nov 2007 um 18:03 hat Stewart McCoy geschrieben:
> Dear David,
>
> The temperament known as Valotti was presumably
Am 2 Dec 2007 um 16:07 hat Edward Martin geschrieben:
> that is, it does
> take a different approach with the right hand in learning how to use gut
> appropriately & beautifully.
And that would be?
Thanks and regards,
Stephan
>
> Down to only 4 instruments? Too bad
>
> ed
>
>
>
>
Renatus Lechner has pictures of his reproduction on his web site:
http://www.renatus-lechner.de/Bilder/instrumente/hes.htm
A student of mine owns this modell, it's quite small (56 cm stringlenght I
think), but it has well projecting, sweet tone.
Regards,
Stephan
-Ursprüngliche Nachricht-
Recently I bought a CD with symphonies and concertos by C. Ph. E. Bach by
Akademie für
Alte Musik Berlin. Beside that it is a superb recording, you can clearly hear
the
Konzertmeister (no conductor) breath sharpely e.g. in the beginning of the
prestissimo. As a
musician, you immediately sit upri
Yes, to my ears the first part is a PA (in triple time), the second is a R.
People tend to assert things or repeat plain hearsay. Like the Folia being
somekind of R or
PA
Regards,
Stephan
Am 14 Oct 2008 um 22:55 hat David Tayler geschrieben:
> I see in several online sources, including t
Come to think over it, the lute duet versions do start with the III,
though not in all variations. And in the Folia one can indeed find the
Romanesca, if you skip the first four measures of the phrases...
Stephan
Am 15 Oct 2008 um 9:44 hat Stephan Olbertz geschrieben:
>
Dear Susanne,
if you can organize a bass lute in D, I have some nice arrangements together
with two lutes
in G. Remember? :-)
I think Stewart McCoy, who is on this list, has arranged some English duets
with an added
bass lute. This is one possibility for the repertoire of "the three lutes" at
Oh, I remember that I have the Thysius lute book quartets, published by
Stefan Lundgren. Tunings: a (superius), g, e, d (bass). I can lend it
to
you, it only gets dusty here...
Viele Gruesse,
Stephan
Am 16 Nov 2008 um 0:22 hat Susanne Herre geschrieben:
>Dear Luten
Dear Gary,
this is true if people manage to contribute something. If their only aim is
writing arrogant and
even insulting mails, no one gains.
Regards,
Stephan
Am 18 Nov 2008 um 2:56 hat gary digman geschrieben:
> I have to say, I'm not sure I agree with this policy of banning people
Am 9 Dec 2008 um 14:47 hat David Tayler geschrieben:
> 7. All editions should be free. We need more lute players. Thanks to
> all who make the music available.
Yes, and all lessons likewise. And all the concerts, we need more listeners,
you see. After all
the applause is the bread of the arti
> > 3. The harmonics' pitches are not consistent with each other,
> > especially during the initial 0.3 second. For example,
> > the fundamental can be at -4 cents, and the first harmonic
> > (an octave above the fundamental) can be at +4 cents.
> >
> > These observations provide an ample hypo
I always ask how they want the guitar to hold if they are left handed,
and 99% want to do it the left way. Recently I had a right handed young
boy who insisted to play the other way round. When I asked about it, he
told me 'that's the way I use to play my tennis racket'. Well, he
qui
This would cause some problems in the orchestra :-)
Stephan
Am 9 Jan 2009 um 19:51 hat Edward Martin geschrieben:
> Has anyone seen many lefty violinists?
>
> ed
>
>
> At 04:25 PM 1/9/2009 -0500, Eugene C. Braig IV wrote:
> >Greetings All:
> >
> >I'm another stereotypical lefty...except when it'
I once had a student whom I adviced to switch after an injury, but it never
felt 'right' for him
and he stopped plying some time after...
Stephan
Am 9 Jan 2009 um 21:19 hat Roman Turovsky geschrieben:
> Reinhard Goebel taught himself to play lefthanded, after an injury. It is
> very rare thoug
My 4 and 5 year old pupils have no problems changing hands for newly learned
skills on
drums and xylophones. But most have a favored hand they start with...
Stephan
Am 10 Jan 2009 um 17:03 hat Christopher Stetson geschrieben:
> Oh, well...
>
> BTW, I'm an Early Childhood Educator. While I'v
I know that I am playing better when I relax or 'free' my left hand while
playing. More music,
less of just playing the right note at the right time.
Stephan
Am 9 Jan 2009 um 23:32 hat David van Ooijen geschrieben:
> On Fri, Jan 9, 2009 at 11:11 PM, David Rastall wrote:
> > On Jan 9, 2009, a
Wow, I think I sign up!
Thanks,
Stephan
Am 19 Jan 2009 um 11:42 hat David van Ooijen geschrieben:
> The collection of tablatures formerly housed in the Gemeentemuseum in
> The Hague has been moved to the Nederlands Muziek Instituut
> (http://www.nederlandsmuziekinstituut.nl/), which is in the s
I don't know whether this has been posted before, but:
Aquila`s web page shows a link to a nice youtube video concerning their
string production.
http://www.youtube.com/watch?v=2_Cwe_pz0Uo
Regards,
Stephan
--
Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
To g
I seem to recall some handwritten pieces on the blank staves of Denss'
Florilegium, in the copy which was used for the Tree Edition selection.
There must be some more fragments, someone suggested the name Valencinian
tablature because there seem to be connections to Valencia other than through
L
Am 13 Aug 2005 um 13:38 hat Stewart McCoy geschrieben:
snip
> Studying the works of Ortiz, Simpson, Dalla Casa, et al, is a
> valuable exercise. They present lots of ideas, lots of ways to help
> free you from the written page. For the lute, you could do worse
> than study the repeated sections of
Am 22 Aug 2005 um 16:42 hat Wolfgang Wiehe geschrieben:
> me again,
> I prepared a rough-list for myself and counted about 53 different pieces
> (dance pairs counted as one piece) and two absolutely unreadable pieces,
> cause the scribe scratched them out. some titles are readable, some not
> and
Am 22 Aug 2005 um 16:25 hat Wolfgang Wiehe geschrieben:
> the first piece, a "bassa tantz"
> is attributed to francesco spinacino (I didn't found it in spinacino
> 1507 till now)
It's no. 16 in the first volume.
Stephan
To get on or off this list see list information at
http://www.cs.dartmou
May I ask which facsimile you use? I didn't know that there is one, so I
ordered a
electronic copy from Augsburg...
Stephan
Am 10 Sep 2005 um 19:09 hat Jose Luis Rojo geschrieben:
> Resolved!
>
> My problems were due to the facsimile order of the pages.
>
> The part of Violone corresponded
Try this one:
http://www.amazon.com/exec/obidos/tg/detail/-/0253210186/104-2324462-
6299106?v=glance
It's Luise gassers book "Luis Milan on sixteenth-century performance practice",
Indiana University Press.
Regards,
Stephan
Am 19 Sep 2005 um 10:28 hat Herbert Ward geschrieben:
>
> Hello. An
Dear Christopher,
do you know Seegermanns papers on the matter? They're online on his "northern
renaissance instruments" page.
Regards,
Stephan
Am 29 Sep 2005 um 19:44 hat Christopher Schaub geschrieben:
> I agree and do play this way. But putting the pinky on or behind the bridge is
> a bit
Dear Ed,
I did a search on Sirinu, but the CD in question doesn't seem to be available
over the
usual channels. It's "EML 053" and the title is "Gentile Spiritus". The labels
name is
"Ensemble Music Label" and is part of the company of one Mike Skeet. He doesn't
seem to be interested in selli
http://www.brindair.net/vache-luthiere/
Even if you don't speak french there are some nice irish pieces at the end
aranged by
Pascale Boquet and good staff notation exercises (trecento tunes, pull out your
plectrum). I just wonder what the thing with the cows is...
Have fun,
Stephan
To ge
Am 17 Oct 2005 um 10:47 hat Arto Wikla geschrieben:
> The magazine seems to be absolutely crazy! :-))
> It is a pity that my French is nearly null...
> The modern (really very modern ;-) lute composition at the end seems to
> be fantastic! "Veau-K-Lyse XII". And it seems to have been commissione
What was in your coffe this morning?
Stephan
Am 18 Oct 2005 um 10:37 hat jim abraham geschrieben:
> Yeah, ok, I'll tell Nigel and Hoppy they shouldn't have bothered. I'll also
> tell Johann Sebastian that he shouldn't have made a version of the 5th cello
> suite for lute himself, and also that i
1 - 100 of 334 matches
Mail list logo
