Hi Arthur:
Might you you be confusing the concerto in G, RV 532 with the "Noah's Ark" (for
lots of pairs of instruments) concerto in C, R 558?
On Oct 13, 2013, at 10:15 AM, Arthur Ness wrote:
> But notice the original instrumentation includes 2 "Salmo" (=chalumeaux),
> 2 theorbos and the violi
Arthur Ness wrote:
> Vivaldi also composed three concertos for violino in tromba marina (RV
> 211, 311 and 313). This fiddle-like instrument, which was popular at
> the Piet`a, has three strings tied to a floating bridge, which produces
> a raspy sound according to Michael Talbot.
The fu
On Oct 29, 2013, at 2:20 PM, Leonard Williams wrote:
> I know this has come up on several occasions‹Capo with anything but
> equal
> temperament doesn¹t work. I¹ve noticed, however, a pattern to meantone
> fret placements, the space between frets being (starting at the nut,
> relative to
On Dec 6, 2013, at 8:20 AM, erne...@aquila.mus.br wrote:
> his recordings do not fit into what I like to hear,
> say Hopkinson Smith and alumni.
If you can direct me to "Hopkinson Smith and Alumni play Britten and
Villa-Lobos," I'd love to hear it.
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On Dec 6, 2013, at 10:06 AM, Geoff Gaherty wrote:
> I feel the same way about Wanda Landowska and the harpsichord. Even if the
> Pleyel harpsichords she used were well on their way to evolving into the piano
The harpsichord had evolved into the piano a century or two earlier. The
Landowska h
On Dec 6, 2013, at 12:52 PM, William Brohinsky wrote:
> I have to admit to not understanding the idea that the purpose of the list or
> of lutenists should be to try to force people's direction one way or the
> other.
I don't think anyone has actually expressed that idea.
--
To get on or off
t; yes, someone expressed that idea.
>
>
> On Fri, Dec 6, 2013 at 4:09 PM, howard posner wrote:
>
> On Dec 6, 2013, at 12:52 PM, William Brohinsky wrote:
>
> > I have to admit to not understanding the idea that the purpose of the list
> > or of lutenists should be to
On Dec 11, 2013, at 9:06 AM, Sean Smith wrote:
> Interesting video and it's a shame about the sound quality. He sounds like a
> good player. I wonder if he would have benefitted from a carpet under his
> chair or a screen just behind him. So much sound seems lost to the volume of
> the hall.
On Dec 14, 2013, at 3:44 AM, gary wrote:
> Recently, a message was posted referring to Andres Segovia as a "bully". I
> think that's a little harsh, I know it's become popular to bash Segovia and
> that he had a huge ego, but I don't recall him actually bullying anyone into
> agreeing with his
On Dec 14, 2013, at 8:46 PM, Franz Mechsner wrote:
> I think Segovia had dedicated so much genius and effort into his views
> on music, interpretations, fingerings etc. that he was unable to
> imagine that a student could have done better
Never mind students; he thought he knew better than
On Dec 15, 2013, at 9:26 AM, Tobiah wrote:
> I find his tone anemic, his rhythm unmusically erratic,
I certainly agree about his rhythm (and unless you've heard his recordings from
around 1930 you don't know the half of it), but he pulled a lot of sound out of
the guitar. In 1977, I heard hi
On Dec 15, 2013, at 1:47 AM, William Samson wrote:
> Segovia's early years seem to be unclear. Does anybody know where he
> learned to play? Did he study with a master?
I just happen to own a copy of Segovia: an Autobiography of the Years
1893-1920, translated by W.F. O'Brien (McMillan 1
On Dec 15, 2013, at 1:01 PM, "Chris Barker" wrote:
> Tarrega taught Pujol to play with nailess right hand
> fingertips, and Pujol passed that technique on to others. I presume that
> Segovia's use of nails, and increased volume of his instrument because of
> that, might have gotten him bigger au
On Dec 16, 2013, at 7:51 AM, William Samson wrote:
> A recent programme blurb for a Nigel North concert says that he was
> first inspired by Hank B. Marvin of The Shadows (Cliff Richard's
> backing group).
Not just at first. About 20 years ago, when I gave Nigel a ride from San
Francisco
On Dec 15, 2013, at 1:01 PM, Chris Barker wrote:
> Tarrega taught Pujol to play with nailess right hand
> fingertips, and Pujol passed that technique on to others. I presume that
> Segovia's use of nails, and increased volume of his instrument because of
> that, might have gotten him bigger aud
I meant, of course, that Segovia played bigger venues...
On Dec 16, 2013, at 3:29 PM, howard posner wrote:
> Llobet was a Tarrega student and played with nails, according to Segovia, who
> didn't care for his tone. And according to Segovia, he played bigger venues
> because he
On Dec 17, 2013, at 7:45 PM, theoj89...@aol.com wrote:
> Does anyone have a source of a lute in tabulation of Mille Regretz by Josquin
> des Pres? Seems like I remember one, but cannot locate it. Cheers,
Narvaez' Cancion del Emperador is a setting of Mille Regretz.
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On Dec 18, 2013, at 8:00 AM, JarosÅaw Lipski wrote:
> Bach was known for bullying kids from his choir
Really? Do you have a source for this?
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On Dec 18, 2013, at 9:07 AM, Geoff Gaherty wrote:
> I recall reading that he was fired from an early gig for improper relations
> with one of the women in the choir.
I don't doubt you read something of the sort, as there is a lot of rubbish
written about Bach. He was reproved for a number o
On Dec 18, 2013, at 1:47 PM, Dan Winheld wrote:
> Is it just me, or is there not something ironic about a serious minded 21st
> century LUTE-list member finding a great 20th century musical icon (think of
> him what one will otherwise) "outdated"?
Not at all. Implicit in the whole early musi
On Dec 19, 2013, at 5:27 AM, Christopher Wilke wrote:
> This also fits in nicely with Richard Taruskin's often stated thesis
> that early music performance practice today is really a modern
> fabrication that seeks to apply 20th (now 21st) century aesthetic
> preferences to past music.
Th
On Dec 20, 2013, at 2:51 PM, Christopher Wilke wrote:
>> This would make sense only if there were a single
>> 20th-century aesthetic preference.
>
> Who is to say there is not? Those alive during a historical period are too
> sensitive to the trees of plurality to discern the forest of ideolog
Are you sure it's a painting and not a photograph?
On Dec 26, 2013, at 1:09 PM, Robert Clair wrote:
>
> Can anyone identify this painting:
>
> http://www.elroberto.com/pix/LutePicture.pdf
>
> This copy was on some promotional material from the French record label Alpha
> Productions.
>
> th
On Dec 31, 2013, at 5:59 PM, "Mayes, Joseph" wrote:
> I'll add my bit - Happy!! Happy!!
Well, if you must:
http://www.youtube.com/watch?v=1nlfUAsTZXo
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On Jan 23, 2014, at 3:01 PM, R. Mattes wrote:
> if you exdend it and go up again
> you end up with something often called "Pachelbel-Sequence".
A poster on another list some years ago asserted that Pachelbels canon is
based on the Aria del Granduca.
If you look at sequences of four or five
On Jan 24, 2014, at 2:14 PM, Stewart McCoy wrote:
> I
> can understand the reticence of Ralf and Howard in accepting musical
> allusions in the music of John Dowland.
> Of course there will be the same
> group of notes which appear in other compositions, a point Howard makes
> well, but are we to
On Feb 3, 2014, at 4:36 PM, Roman Turovsky wrote:
> that is not related to turbans or theorbos, but rather to the latin TURBARE,
> to BOTHER.
If you dismiss out of hand any relationship between theorbos and bother, you
lack sufficient experience with theorbos.
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On Feb 10, 2014, at 7:27 AM, William Samson wrote:
> My usual plan of attack on a loose gut fret is first of all to dampen
> it a little. Gut, unlike nylon, tightens when damp - though it may
> take a day or two of repeated dampening for it to achieve the desired
> effect.
How exactly d
On Feb 10, 2014, at 11:41 AM, William Samson wrote:
> Hi Howard,
> I wipe them with a slightly damp (not dripping wet) cloth. That might
> not suit some neck finishes, but I haven't had any problems with mine.
> Bill
Hmm. I might muster the courage to try a Q-tip...
To get on or
On Feb 25, 2014, at 8:44 AM, Jean-Marie Poirier wrote:
> Here is the passage in question (I am confident that you can read French) :
For those who canât, I will helpfully offer a translation from Google
Language Tools. I think it speaks for itself.
"He had some Italian in the Court, famous
On Feb 25, 2014, at 9:44 AM, Jean-Marie Poirier wrote:
> Thank you Howard but Google is not completely up to point.
Im shocked SHOCKED -- to hear it.
> At first sight but a bit more accurate than Google I hope ;-) !
Sorry, but theres simply no way to improve on the toilet was beautiful,
On Feb 27, 2014, at 8:41 AM, Jean-Marie Poirier wrote:
> Robert de Visée was obviously one of the best on the guitar, theorbo and lute
> of his time, but his French grammar was not really spotless... ;-)
He was a Spaniard, and he used Google Translate.
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You might start with IMSLP. If you go to this page, for example, you can find
all the songs in the First Booke set in score:
http://imslp.org/wiki/The_Firste_Booke_of_Songes_(Dowland,_John)
On Feb 27, 2014, at 9:41 AM, Jörg Hilbert imap
wrote:
> Dear collected wisdom,
>
> are you happen to
On Feb 28, 2014, at 2:17 PM, Monica Hall wrote:
> I think you are being disingenious. What Satoh actually says is
> "This is all my imagination and conjecture, based on the few documents
> concerning De Visee's life".
>
> How is the reader supposed to know what is based on these few documen
On Mar 1, 2014, at 9:29 AM, Christopher Wilke wrote:
> before you know it, it's a "known fact" that de Visee was from
> Portugual.
My offhand remark that started this thread was based on a "known fact" that I
gleaned from the liner notes of a Segovia LP (you may commence giggling), when
I w
On Mar 6, 2014, at 8:46 AM, Garry Bryan wrote:
>
> I'm still trying to figure out why they keep their "house guitarist" in a
> box, because I'm sure that they weren't referring to the Roosebeck when they
> mentioned playing "right out of the box.
If you wait for the end of the video of the
On Mar 16, 2014, at 4:51 AM, Edward Chrysogonus Yong
wrote:
> so i was asked to play continuo for a Händel Concerto Grosso and spent some
> time working it out. at the first rehearsal i discover that the continuo line
> is also being played by 3 violoncelli, an electronic harpsichord, and a
Chris, it took you three and a half hours to join battle this time. You must
be slowing in your old age.
On Mar 17, 2014, at 10:49 AM, Christopher Wilke wrote:
> There is no historical evidence implying that plucked continuo players didn't
> want or expect to be heard even in large groups.
I
On Mar 18, 2014, at 6:06 AM, Christopher Wilke wrote:
> But worrying that you're hogging the spotlight is a baseless fear. . . .
. . .
> What about having parity with the keyboard is there to fear?
Were not discussing fear of hogging the spotlight or of achieving "parity with
the keyboard (w
I recall playing from a published edition of his recorder music, but it was a
long time ago and it may not be in print now. IMSLP has a few of his things.
On Apr 9, 2014, at 10:51 PM, MANUEL MINGUILLÓN (GMAIL)
wrote:
> am in search of Daniel Purcell's music. Does anybody know if the:
> "Six
On Jun 4, 2014, at 7:50 AM, Braig, Eugene wrote:
> On O'Dette's recording of the Vivaldi works with the Parley of Instruments
> (1986, Hyperion CDA66160), he speculated the works to designate "mandolino"
> to be intended for the five or six course mandolino (i.e.,
> [g]-b-e'-a'-d''-g'') played
If you’re not in a hurry to get the instrument strung, you could try getting
two courses based on whatever criteria you think appropriate, put them on, and
see how they work. If they’re too big/tense, move them down (e.g., from ninth
and tenth to tenth and eleventh) and if they’re too slack, mo
On Jul 28, 2014, at 6:39 AM, wayne cripps wrote:
> One of my lutes has a varnish finish, and in the humid weather the fuzz from
> the case lining sticks to the varnish, and gives part of the bowl a flocked
> look! Can you suggest a way to get the fuzz off and keep it from sticking
> again?
On Jul 28, 2014, at 8:16 PM, Mayes, Joseph wrote:
> Zowie!! Just mention, in passing that one of the sacred cows is somehow not
> the best idea, and the floodgates open!
Well, the writer said (and not in passing — it was the sole subject of his
post) that resting the little finger on the top w
On Aug 1, 2014, at 7:56 AM, Charles Mokotoff wrote:
> I must have a
> roomful of printed books of music, greatest hits of the era, Dowland,
> Campion, Ford, most of the Stainer and Bell editions.
> Is there a place on the internet where these are perhaps already living
> to save me the s
On Aug 4, 2014, at 1:54 PM, Tobiah wrote:
> I'm interested in how they played, but I like what Jimmy Hendrix did with
> Francis
> Scott Key
You mean John Stafford Smith, unless you’re admiring the way Hendrix recited
poetry.
> at the same time. Maybe a little light chorus effect will spice
On Aug 4, 2014, at 6:17 PM, Sean Smith wrote:
> Why doesn't anyone talk about historically informed listening?
Perhaps the answer to that question can be found in Ken Burns’ 2001 PBS series
about jazz, which was titled, very creatively, “Jazz.”
He showed jazz pianist Cecil Taylor saying that
On Aug 5, 2014, at 9:00 AM, Tobiah wrote:
Ever since grade school, I've heard that
> Francis Scott Key wrote the national anthem. I guess I always assumed that he
> wrote the music.
http://en.wikipedia.org/wiki/To_Anacreon_in_Heaven
> What's funny is that there are a lot of people in the
On Aug 5, 2014, at 9:35 AM, Doug Asherman wrote:
> There's an instruction manual? Why am I spending all this money on lessons?
Your question indicates a lack of experience with instruction manuals.
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On Aug 6, 2014, at 9:12 AM, wayne cripps wrote:
> So why aren't people sticking to the subject line?
Perhaps because they suspect that it was concocted by a deranged person.
> My Pignose Hog 30
> is my go to amp for playing at outdoor events! (along with a Sennheiser
> microphone and a lin
On Aug 9, 2014, at 9:34 PM, Ed Durbrow wrote:
> My 34 year old zeroes of the 1650 archlute manuscript by Gianoncelli has a
> page that looks like a dedication page signed Lugretia Gianoncelli. So where
> does the name Bernardo come from that I see in reference to Giononcell? That
> is the onl
On Aug 10, 2014, at 7:25 AM, Bernd Haegemann wrote:
> Respighi arranged one of G's pieces:
>
> https://www.youtube.com/watch?v=CQrXTGmTqb4
Actually two of them. He inserts the C major Tastegiata (faster than it would
make sense to play it on the lute) as a sort of middle section in the
Berg
On Aug 14, 2014, at 2:29 PM, R. Mattes wrote:
> Poor Castaldi - according to his own engravings he played an instrument
> that, according to modern folklore, was a typical french theorbo (rather
> small, single strung with a roundish/deep body).
Unless it’s the tiorbino.
To get on or off thi
On Aug 20, 2014, at 11:48 AM, Dan Winheld wrote:
> Having said that, I must agree with Roman- out of character for the
> instrument, at least for "performance".
Given that it’s an oboe solo that Bach arranged for harpsichord, probably for
didactic purposes, I’m not sure it makes sense to dra
On Sep 1, 2014, at 8:44 AM, Edward C. Yong wrote:
> Style and taste question - do you think an archlute or a baroque guitar would
> be better for this?
Impossible to answer that question in a vacuum. It depends on your particular
instruments and ability (is your guitar much louder than your a
On Aug 31, 2014, at 6:22 PM, Dan Winheld wrote:
> William Hogarth might have seen a need for even more police
>
> http://janeaustensworld.wordpress.com/2009/11/03/londons-street-noises-the-enraged-musician-by-william-hogarth/
We’ve had discussions here about the relative noisiness of moder
I’m loathe to open up yet another contentious debate about performance practic,
but isn’t “air” performance properly limited to performance without anything in
the performer’s hands?
I’m not sure it addresses the question directly, but I think any inquiry has to
start with the excellent “Air Lu
On Oct 15, 2014, at 12:39 PM, r.turov...@gmail.com wrote:
> Actually the brouhaha was mainly about the bridge width, even before I could
> get to the distorted swanneck curve..
Previous discussions indicate that there’s a lot of disagreement with your view
of bridge spacing; you might want to
eling Pat's idea/ls.
> RT
>
>
> On 10/15/2014 3:51 PM, howard posner wrote:
>> On Oct 15, 2014, at 12:39 PM, r.turov...@gmail.com wrote:
>>
>>> Actually the brouhaha was mainly about the bridge width, even before I
>>> could get to the distorted swanne
I asked the point of asking for ideas if you’ve already decided you’re not
going to change the thing you’re asking ideas about, even to acknowledge that
some players disagree with you.
On Oct 15, 2014, at 2:46 PM, r.turov...@gmail.com wrote:
> Huh?
> All the players I respect tend to have wide
On Oct 16, 2014, at 7:32 AM, r.turov...@gmail.com wrote:
> I wrote ADD, not "change".
I guess that means you can’t take the apostrophe out of “it’s,” but you can add
“not everyone shares my view about how wide bridge spacing should be.” So
we’re agreed, and your path is clear. No need to than
On Oct 18, 2014, at 8:43 AM, David van Ooijen wrote:
> I'm looking for the score of Oblivion Soave
Have you checked IMSLP? There are couple of versions there.
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On Nov 3, 2014, at 7:47 AM, Martyn Hodgson wrote:
> why do you think the theorbo was ever invented?
Well, one clue is that the first theorbo design was commissioned in 1595 by the
Marketing Committee of the Pan-Italian Chiropractors Association.
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On Nov 8, 2014, at 5:40 PM, Leonard Williams wrote:
> They used to strike
> silently, in the darkness of the lute case, but now they are bolder and
> snap out in the full light of the music room. A nasty bleeding welt
> across my left index digit is proof enough to me that these trebles are
> t
My very first lute had rollers at the nut. I bought it from Kelischek in 1982
and sold it a couple of years later. Rollers solve all the sticking problems.
The only disadvantage is that you can’t change the nut spacing without
dismantling the nut mechanism.
On Nov 18, 2014, at 7:48 AM, John
On Nov 23, 2014, at 7:37 AM, Martin Shepherd wrote:
> The size of the opening affects the natural resonant frequency of the body,
> with a smaller opening giving a lower frequency.
>
> But I invite all you proper physicists out there to explain why!
Do a web searches for “calling Dr. Helmholt
On Nov 24, 2014, at 11:17 AM, Charles Mokotoff wrote:
> Can someone explain...errr "Chipass" to me?
As in “Chi passa per sta strada” Try:
https://www.youtube.com/watch?v=S-eebUidttE
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On Dec 27, 2010, at 6:51 AM, Roman Turovsky wrote:
> That's tasty food for thought to catgut integralists on this list, and a bite
> out
> of their ideal of authenticity.
> I already imagine Dan Larson chasing a suitable kitty, because Anthony Hind
> has just ordered a set.
> RT
Morris' pseudo-
On Jan 3, 2011, at 9:15 AM, t...@heartistrymusic.com wrote:
> 2. Would Vivaldi have written standard notation that a lutenist would then
> have entabulated
> according to the instrument in their possession at the time?
A lutenist, particularly a lutenist capable of playing a Vivaldi concerto,
On Jan 3, 2011, at 11:17 AM, Eugene C. Braig IV wrote:
> Oddly, when Paul O'Dette recorded these years ago, he opted to play the
> "leuto" works punteado on mandolino. Frankly, in spite of the excellent
> performance, the solo line sounds odd in to me in that octave.
Not so odd at the time, whe
On Jan 3, 2011, at 12:16 PM, franco pavan wrote:
> Only a word about the notation. We have hundreds of pieces for italian
> archlute from the XVIII-Century. All the pieces are written with the
> same notation used by Vivaldi. It was the common way in Italy to write
> the music for our ins
> On Jan 13, 2011, at 9:08 PM, Claudia Funder wrote:
>
>> For last few days I haven't been able to turn the pegs at all. I've tried
>> the heat/drying technique suggested but given it hasn't really helped.
>> (Actually, I might try a hair dryerHmm)
>
>
> Welcome, Claudia. I hope you unde
On Jan 14, 2011, at 10:16 AM, Roland Hayes wrote:
> So if you won't get a good turner soon, or if you're still afraid of breaking
> the peg, you could try this instead, or let your builder do it for you
Of course, Claudia's builder would need arms 11,000 miles long to do this.
To get on or o
On Feb 8, 2011, at 7:12 AM, Roman Turovsky wrote:
>>> And the fretting is equally tempered, just like it was (and should be) in
>>> real life.
I think not. I blew up the picture so that the length of the sixth course
from nut to bridge was 47.72 cm (18 inches) the biggest I could conveniently
On Feb 9, 2011, at 9:38 AM, Anthony Hind wrote:
http://tinyurl.com/67aeck3
> We do see that the pegs look the same, but the painting of the lute is much
> less
If you mean the pegs on this painting look the same as the ones in The
Ambassadors, try zooming in on the "Ambassadors" pegs. They ar
Do any UK listers know of a Henry Williams in the Manchester area? We've been
communicating about an instrument I'm selling, and I'm suspicious that it may
be a scam.
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These days, almost anything for sale, even posted in obscure locations,
> seems to generate bogus responses.
>
> Guy
>
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
> Of Ken Brodkey
> Sent: Friday, February 18, 201
On Feb 21, 2011, at 3:41 PM, Edward Martin wrote:
> Yes, according to Baron! I never have to tune again!
Mattheson, I think.
Happy birthday.
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On Mar 8, 2011, at 8:38 AM, Rob MacKillop wrote:
> Now that I've mastered it (cough!) does this make me a real lute player
> now? Can I look disdainfully at those who have never tried it?
Of course. Otherwise, what's the point of doing it?
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On Mar 13, 2011, at 8:34 AM, Christopher Wilke wrote:
> Doesn't this guy know that he's not meant to be heard, but only contribute to
> the composite sound??? It is always _very_ bad form for the lute to be
> heard!
Yes, that's what everyone's always told me, even when I played solo gigs.
Wondering if anyone's shipped a big instrument lately, and has any
recommendations.
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On Mar 21, 2011, at 2:58 PM, wikla wrote:
> Only just one day after mine, poor JSB! ;-)
But you look young; I wouldn't have thought you a day older than 275.
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On Mar 27, 2011, at 8:38 AM, Ron Andrico wrote:
> Chris:
> Let's not be too hard on poor Striggio's and his choices for writing in
> 40-60 parts. Try it yourself observing 16th century norms of
> counterpoint and the handling of dissonance.
> Ron Andrico
Indeed. The more voices in the
The Oxford English Dictionary includes "to fall short" ("It fainteth or
straieth from the marke, if you aime further off"), also to lose heart, be
depressed, from about this time period. The sense here seems to be that he
thought he should not be half-hearted in his gratitude.
On Apr 5, 2011,
On Apr 8, 2011, at 4:26 PM, Roman Turovsky wrote:
> Here's Merula's Cappriccio Cromatico played on a mean-tone organ:
> http://www.youtube.com/watch?vÕ_bSrkEFXs
>
> It was so insufferable I had to turn it off halfway through.
The second half was the best part.
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On Apr 11, 2011, at 9:01 PM, David Tayler wrote:
> Dear collective wisdom, please weigh in with your favorite Purcell
> song for the tenor range for my fall set.
'Tis Nature's Voice
On the Brow of Richmond Hill
But why the hit parade? You could probably find a gem by opening Orpheus
Britan
Try one of these:
http://www.sca.org.au/del/ddb/music/caroso_spagnoletta_transcribed.pdf
http://sca.uwaterloo.ca/~praetzel/phaedria/SPAGNOLE.pdf
On Apr 24, 2011, at 11:52 AM, Julia Seager-Scott wrote:
> Hello all,
>
> I am a triple-harp player looking for the original source of Respighi's
>
Imagine how good these guys could be if they had heads.
On Apr 26, 2011, at 1:13 PM, David van Ooijen wrote:
> I'm sure it'll be authentic one day, if we wait long enough:
> http://www.youtube.com/watch?v=J8CrDkOlhEI
>
> David
>
> --
> ***
> David van Ooijen
> david
Very nice. Is there some idiomatic meaning to "Die Gezeiten des Walden" that
the English "Tides of the Forest" doesn't translate?
On May 5, 2011, at 8:13 AM, Anton Höger wrote:
> hi,
>
> for all of you who want to hear a composition of me
>
> here is a youtube link
>
> http://www.youtube.com/
On May 15, 2011, at 8:58 AM, adS wrote:
> By the way, Robert Johnson died on 18.Nov.1633.
Is it too late to send flowers?
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Is anyone aware of evidence, other than Kremberg's 1689 book, for the guitar in
German-speaking lands before about 1750?
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Very interesting source. Thank you.
On May 16, 2011, at 9:33 AM, Andreas Schroth wrote:
> I found this page:
>
> http://www.studia-instrumentorum.de/MUSEUM/GITARREN/QB/git_qt_dtsch.htm
--
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On May 27, 2011, at 2:53 PM, Sean Smith wrote:
> Guitars in the early 20th century used metal frets and gut together, I
> presume.
And in the 19th century.
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On Jun 7, 2011, at 4:24 PM, Stewart McCoy wrote:
> The words "come" and "die" have two meanings.
If you're suggesting that "come" has an orgasm-related secondary meaning, I
think you're centuries early. I'm pretty certain Dowland would not have
started with "Come again" if he thought it meant
On Jun 8, 2011, at 6:36 AM, Catherine Arnott Smith wrote:
> Re: "come" in the sense of orgasm: One of my research areas is the use of
> obscenity to describe health concepts, so I happen to have encountered this
> question before. The OED Third dates this usage to "before 1650" and
> Partridge'
>
> The digital OED 3rd, however, gives this as meaning # 17, "To experience
> sexual orgasm. Also with off. slang."
>
> and cites
>
> "a1650Walking in Meadow Green in Bp. Percy's Loose Songs (1868) , Then
> off he came, & blusht for shame soe soone that he had endit."
>
> [A1650 means
On Jun 19, 2011, at 9:41 AM, be...@interlog.com wrote:
>
> Is anyone aware of any good articles about Bach as an improviser -
> contemporary commentary, modern analyses of toccatas/fantasias, etc?
Most of the contemporary accounts are in The Bach Reader, some of them in the
"Bach as Seen by H
On Jun 25, 2011, at 2:44 PM, David Tayler wrote:
> For the Trauerode, if memory serves, you need some chromatic notes.
> When I recorded it I tuned my D to C and tuned a few chromatic notes
> in the long strings.
> Gorgeous music!
> Of course it could be for two lautenwerken.
> Bach had several
On Jun 27, 2011, at 4:34 PM, Leonard Williams wrote:
> This discussion of breaking pitch has me wondering: Knowing the breaking
> pitch of gut, can we use the rule of tuning a treble to just below breaking
> pitch to determine at about what pitch lutes were tuned historically?
Not really.
You
On Jul 1, 2011, at 12:32 PM, wikla wrote:
> 30 year old Pyramids on the 3 lowest basses - worn out enough not to be too
> loud and ringing.
Don't you love those? If Pyramid starts selling pre-aged strings they could
recapture the HIP market.
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