Craig Allen wrote:
I've seen many lutenists placing music on flat tables or laying their stands
as flat as they can and setting them low so that the lute is up above the
level of the stand. I'd have to say they do this for a good reason beyond
their own physical comfort.
If they don't, the
Craig Robert Pierpont wrote:
Oh goody! I'm so glad that the lute has finally made it to this level of
American haut culture. We need hide in shame no more.
It wasn't the lute's first first appearance on The Simpsons.
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Alan Sumler wrote:
I also wish to ask if anyone here
can offer the name of a lute teacher who doesn't mind beginners. I will move
to NYC in August and by then I will have studied for about three month on my
10cs lute.
Any information will be highly appreciated and I will try to pay you back
Daniel Shoskes wrote:
To my eye in the video, the bass notes are allowed to ring without
damping. I was under the impression that the Basel school of playing
was very strict with silencing bass notes at their exact value (unless
using gut with quick decay).
Is this something that most
Michael Thames wrote:
A friend just sent me a video of Barto playing a
concert at the LSA last year. I couldn't help but notice He rarely use's
A finger, but did seem to use it sometimes. Hence, I became curious as to
the correct application of A.
Another interesting thing I noticed, was
Joseph Mayes wrote:
I found out why it seems unbelievable - it's not true. It seems that the
lute's repertoire, renaissance and baroque, is about half of the guitars
only from the 19th C.
Assuming, of course, that both the estimates of lute pieces and the
hand-me-down numbers you cited for
Dr. Marion Ceruti wrote:
So far, I have not heard of a strap button pulling out of a lute.
It happens all the time, since they're typically put in like tuning pegs,
held by friction. This has nothing to do with the strength of the
instrument, of course.
I see no disadvantage with the very
Michael Thames wrote:
try repeating the words, solo solo,,, solo,,, this
may help.
It doesn't, though the absence of plurals with apostrophes is heartening.
Is a violinist playing a Beethoven sonata playing solo? If he is, does he
lack professional stage presence if he has the music in
Joseph Mayes wrote:
Duke Ellington once said, There are two kinds of music - good music and bad
music.
Ellington, who died in 1974, is indeed universally credited with that
remark, proving that inane comments about music predate internet discussion
groups.
Anyone who really believes that
Roman Turovsky wrote:
you are mixing up apfel and pomeranz. No orchestra ever plays
from memory.
But every orchestra is concerned about the professional stage presence of
its musicians (or, as seems to be the fashion around here, musician's);
which was the immediate subject at hand.
get two copies of this message, you're not subscribed to the
list.
Howard Posner
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Greg M. Silverman wrote:
Indeed. I would suggest checking out lutes by Luciano Faria
(www.lucianofaria.com) as they are very well built and they are
relatively cheap.
Does anyone have experience playing one of his instruments?
H
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Dr. Marion Ceruti wrote:
These terms are in common
usage. I am not particularly satisfied that this is the best that can be done
with definitions, but this is what the words mean in American English.
I'm guessing that 99.999%, give or take a few, of the persons who've used
the word guitar in
fret with
double-stick tape. He would tell the audience there was a danger of putting
his finger through the rose.
Howard Posner
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Dr. Marion Ceruti wrote:
Actually, bending a line, cord, rope, or string around corners
produces a great deal of force in the form of friction, which always
opposes motion. It is friction that keeps our pegs from rotating
when set in a certain position (in theory).
Indeed. The most
Ed Durbrow wrote:
I have not thought this through, but wouldn't you run into problems
if you modulate and then modulate back to the original key by a
different route?
This actually happens rather a lot in barbershop quartet singing.
Barbershoppers adjust intervals on the fly to get chords to
Thomas Schall:
so play the chord this guy here is fingering. (Bb on the 6th course, E on
the the 5th, C on the 3rd assuming a ren- lute in G) Which fingers on your
right hand would you use?
* The right hand doesn't seem to pluck the strings this guy is fingering
(he seems to pluck the 2nd
guy_and_liz Smith wrote:
Star Wars:-) (OK, so prove it wasn't...).
It's been a long time since I saw it, but I recall there's a lot of sound in
space, as if there were an atmosphere.
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Monica Hall wrote:
Another example perhaps of how uninformed film makers are about musical
matters. Everything is authentic to the last detail except the music.
You've seen a period movie in which everything is authentic to the last
detail?
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timothy motz wrote:
Is that just sloppy
right-hand technique on my part, or is there something about the
varnish coating that leads to squeaking? More friction?
Squeaking is a problem with varnished gut. Try lubricating the strings
instead of your fingers.
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Gianoncelli marks open strings with a T, where an appoggiatura from the note
below is unlikely.
HP
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Roman Turovsky wrote:
MANDOLONCELLO would be an appropriate term.
mandocello makes little sense.
True only if you assume it's a real Italian word. I believe it's actually
an American term formed by analogy.
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Eugene C. Braig IV wrote:
Mandoloncello is a proper Italian word and the original, proper term for
the instrument, analogous to violoncello.
Is there such an instrument as a mandolone? And if there is, can the
mandoloncello/mandocello be said to be a small one?
HP
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Roger E. Blumberg wrote:
And the more you mention it; even their
spacing is suspect. i.e. on such a short scale instrument the frets would be
much closer together that high up. So I don't know what the deal is.
The deal is probably that the artist didn't care about fret spacing and paid
no
Roman Turovsky wrote:
Most likely that was Richard Stone, who has a whole CD of these on Chandos.
Thanks, but it wasn't. I'm hoping someone who was there will remember.
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Edward Martin wrote:
I was not at the seminar, but Tim Crawford told me about it. Tim did the
reconstructions, and Nigel performed it with Peter Holman in Poland, of all
places. I asked Tim for the scores, but he has not published them was
(at least at that time) reluctant to share them.
bill kilpatrick wrote:
any of the
variations listed in your preceding letter (tunings,
backing material, no. of courses, etc.) would
naturally be of intense interest to him - no more than
any other variation he might have encountered in his
experience - but of secondary importance to its
Roman Turovsky wrote:
in Russia medieval era lasted till about 1690.
When Peter the Great shaved off the last boyar beard?
And some remnants thereof to 1860.
March 3, 1861, I would think. Do Russians talk of a renaissance in
Russia?
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I wrote:
Do Russians talk of a renaissance in
Russia?
By which I meant, do Russians speak of the renaissance as something that
occurred in Russia?
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rosinfiorini wrote:
i'll restate my line: renaissance never
passed through the States and this is a fact.
Since there was almost no European population in North America during the
time known as the renaissance, this is not significant. And except among
the small minority of people who had
Carl Donsbach wrote:
Early colonial life was hard! The early English and Spanish colonies in
North America were not characterized by much musical cultural growth, and
there is little evidence of lute playing or making in those times. Musical
instruments (lutes included) tended to get left
I thought it might be a spoof, but a visit to the home page, dedicated to
the dancers of 'West Coast Swing' and its variants indicates that the
writers are just out of their element.
Caroline Usher wrote:
At 09:21 AM 12/10/2004 -0500, you wrote:
Some interesting stuff regarding the origin of
Caroline Usher wrote:
The passacaglia is not a dance.
Arthur Fossum wrote:
How come pas de passacalle is in Feuillet's Choregraphie from 1713?
Probably because it was a dance at the time. If a musical form hangs around
for a century or two, any statement about what it is will be perilous.
Timothy Motz wrote:
Anyone know any easy
(really easy) but interesting music for a beginner? No more than two
voices, open strings on the second voice? Not too many shifts?
Tall order, and, I fell compelled to point out, it has nothing to do with
Stalingrad.
Try cruising the web sites that
While I find these remarks insightful -- except for the part about the
dominance of the religious and military, the part about Shakespeare and
Dowland (who were both dead before there were more than a handful of
European settlers in North America), and the parts about the praying seven
hours a
rosinfiorini wrote:
The weird thing i learned recently is that the American president had a Jap=
anese code decoded some days before Pearl Harbour and knew about the attack=
but needed pretext to enter (highly unpopular at home) war so...he ordered=
the radars at Pearl Harbour to be shut
You should mark things like this OT
rosinfiorini wrote:
what if America was not conquered and developed under the sign of stiff
puritans
It wasn't, except one small part which is largely catholic now.
HP
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Tony Chalkley wrote:
Just an idea that I wouldn't know how to put into practice - they couldn't
have roped but left a finer tail to go through the hole, could they? I'm
thinking of a make of guitar and bass strings where only the core lies on
the saddle and of course piano strings.
You
Caroline Chamberlain wrote:
I should like some practical advice, please, because I don't
understand why I broke the string. I was trying to tune it to F
Fourth course f below middle C? or something else? What was the string
made of?
HP
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Caroline Chamberlain wrote:
Sorry, I should have said...fourth course, F below middle C and I was using
an electronic keyboard as reference for the note. (I also have a
guitar/bass guitar tuner, but it doesn't do F.) The string was fine metal
wound around something, not gut. Fortunately, I
bill kilpatrick wrote:
i repeat that recordings of the lute/guitar instrument
popular in germany before the war should be plentiful
and could prove useful as the playing technique for
these shouldn't have differed greatly from the lute
proper.
If by lute proper you mean the lute as it was
bill kilpatrick wrote:
presumably, the technique for playing medium to
large, bowl backed, lute family instruments in a
european context is the same for one as another.
The presumption is not only incorrect but unnecessary, since empirically we
know that the techniques vary widely.
To get
Ed Durbrow wrote:
Edison recorded Brahms. The piano is a cordophone.
True, but it rarely gets invited to cordophone family gatherings.
Agustin Barrios made commercial recordings around 1913.
You can buy one CD (Opal 9851) that contains all the extant recordings of
the violinists Joachim and
Rob MacKillop wrote:
I have returned to the lute because I love the sound
of it. No other reason.
That's what they all say. I think you're really just looking to get rich
quick.
HP
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bill kilpatrick wrote:
wouldn't it be safe to assume that string quality
varied from region to region and style of play - close
to or far from the bridge, for example - would have
depended on many variables and possible
interpretations available to the performer at the
time?
It must be
Zoology was not much of a science in the renaissance, and Europeans still
relied heavily on the Natural History of the first-century Roman Pliny the
Elder (who in turn based most of his writings about animals on Aristotle
four centuries earlier). Much of it is a bizarre collection of inaccurate
bill kilpatrick wrote:
implicit in howard's original posting is the
invitation to compare what once was to what is now
The original posting was not from me, thank you very much.
HP
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Herbert Ward wrote:
I've read that the suicide rate has quadrupled in the past 60 years for
young adult males, (and doubled for females).
From this, it is reasonable to assume that modern lutenists operate in a
profound general society-wide emotional deficit, compared to the period of
their
Eugene C. Braig IV wrote:
I don't
believe the endangered species act to be Draconian.
Can we get back to plectra and lutes now?
Sure. Does anyone have an opinion about whether spotted owl feathers make
good plectra?
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Michelangelo Galilei's 1620 book is organized by key, perhaps into suites of
a sort, though they tend to consist of of toccata followed by a bunch of
voltas or correntes.
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, particularly if there's someone
else playing the bass part. It's very bad in continuo practice. The people
I played with used to jump all over me for doing this; I quickly got out of
the habit.
Howard Posner
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to 18th-century
writers like Quantz, CPE Bach and Leopold Mozart. Listen to almost any pop
singer and you'll hear this: the accompaniment is in very strict rhythm
(assuming the drummer is sober) but the singer is all over the beat, early
or late as the spirit moves him/her.
Howard Posner
To get
[EMAIL PROTECTED] wrote:
As to rubato, I have been taught, as Howard wrote, that it should be
superimposed on a steady beat, robbing one beat to pay another, so to speak.
Of course this may work well between a soloist and accompanist, but not among
a larger group--could get a little muddy.
Arne Keller wrote:
Any thoughts on this?
Only that Johann is a pretty common name on which to be hanging such a
theory.
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Herbert Ward wrote
These do not look like baby faces to me. Especially around the eyes. I
guess it (the adult face) was a symbol of authority which the folks back
then needed to feel secure, like they needed kings and an infallible
omnipotent Church.
These are actually pretty mild examples
Dear Sirs:
I wish to complain in the strongest possible terms about the recent spate of
postings concerning English, German, Hebrew and Greek grammar. I would
never dream of bringing up such things myself, and I'm as pedantic as they
come.
Rear Admiral Howard Posner, M.P., OBE, KBE, JD UCLA
PS
Mathias Rösel wrote:
the very name Jesus
does occur in Hebrew sources which predate the New Testament, indeed.
Have a look into the books of Ezrah/Nehemya (26 times, especially Ezrah
2-3, Nehemya 7-9), if you will.
I will, but my point was that the person Christians know as Jesus of
Nazareth
for all i know, informed discussion of this type
occurs all the time in any discipline. but (roll over
e.b. white) i honestly don't see how anyone - expert
or otherwise - can exclude the possibility, the
probability even, that at one time in history many
different instruments carried the
Stewart McCoy wrote:
The
world is full of sentences beginning with conjunctions, often from
very eminent writers, but that still doesn't make it grammatically
correct.
Yes it does. If it doesn't, the whole notion of correct is meaningless.
This isn't like Mark Twain using ain't
Eugene C. Braig IV wrote:
Um, I think you mean conjunctions instead of prepositions here,
Howard.
You mean there's a difference?
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I can no longer find the web site where I got this. My question is: What is
it, exactly?
The title page says Pieces pour theorbe sur differents modes De Robert De
Visee. Edite par Richard Civiol.
But in smaller print at the bottom, just below Document printed with
StringWalker, Version 3.985
kilpatrickbill
i've come to suspect, however, that charango is merely a word
south americans give to a european vihuela de mano.
it would also be fair to say that contributors to wayne's lute list
have proved somewhat cool to the idea.
may i ask for your opinion?
Are you talking about the
James A Stimson
My intention in the original posting was not to declare that all
performances of Bach's cantatas were bad, as Howard seems to interpret my
comments.
Neither of us said that.
But it is undeniable that Bach was at times dissatisfied with the
forces available to him --
Catchning up.
James A Stimson wrote:
But how about hearing a Bach Cantata sung
by schoolboys and accompanied by mediocre local instrumentalists, as some
were probably performed originally, much to Bach's dismay.
Is there evidence of Bach's dismay at the performances of his cantatas?
HP
Eugene C. Braig IV
Owain Phyfe of New World Renaissance Band fame was
playing. For any who have not seen this spectacle, Mr. Phyfe plays on a
modern steel-string guitar with six single strings...but crafted to ape the
aesthetics of the old Guadalupe vihuela. Afterwards, I engaged Mr. Phyfe
bill
it occurs to me that formally trained musicians and composers like
yourself have always been at odds with musicians like me who will
gleefully murder a tune and disregard learned opinion if it feels ok
to do so.
this must be very irritating.
the only consolation i can offer you is
Ed Durbrow
This is probably of
limited interest to the list, so it would be best to respond
privately.
I'm sure there are other Mac users like me who like to keep tabs, as it
were, on this sort of thing.
Harald J. Hamre asks:
When using overspun bass strings, lutenists often damp them after striking
to avoid dissonances. Do any of the historical treatises describe such a
technique?
The short answer is no. There's a French source occasionally mentioned, but
the last time it came up around
Re Mathias comments on Maoz Tzur and Oseh Shalom Bimromav:
I am well aware of what the words mean, Mathias, but the words are not the
present topic: I'd assumed Thomas was going to be playing and not singing,
and in any case I was referring him to intabulations, not the songs
themselves. We are
Roman Turovsky
SA vets have a reasonable shot themselves at being a persecuted minority (of
sorts.). They were gotten rid of rather quickly.
A few hundred of the leaders were killed in June 1934. But there were
hundreds of thousands of storm troopers; I've seen estimates as high as 3
Thomas Schall
I have accepted to play again to a service/official event (politicians
as well as priests will participate) in remembrance of the so-called
Reichsprogromnacht when the Nazis the first time showed their ugly
grimace to a wider public.
My question would be for ideas what to
I wrote:
I believe Kapsberger's instructions were to use the index finger on the
fourth note, since the last note of the arpeggio is on the third or fourth
course, even when it isn't the highest note.
Chris Wilke, wisely considering me an unreliable source, writes:
t4, i2, m1, i3 makes
Richard Yates writes:
You assume that Kapsberger's example implies that he considered it to be
mandatory rather than just to illustrate the sequence that would give an
ascending chord.
He certainly didn't say his set of examples was optional, and it doesn't
illustrate the sequence that would
dangerous. I live in Los Angeles, and the last time I reported
my thumb missing, an overzealous police officer attacked it with a
flashlight.
Howard Posner
Hi, I have an OLD, OLD 10 course built by Larry Brown back in like 1981.
The face is split (somewhat).
I will get it fixed by Larry, eventually. I will have to send it off to
him.
I got it second hand for about $1100.
This was my first lute and up until the time of the fracture, I
At the risk of setting a quarrel new abroach, I point out this article from
the Birmingham (England, not Alabama) Post about a legal judgment that a
musicologist's work in reconstructing an orchestral piece was substantial
enough to warrant copyright protection. It has not much bearing on law in
[EMAIL PROTECTED] writes:
Perhaps someone can explain why Hyperion believes they should collect
revenues on this CD and not compensate the musicologist when the production
the CD
was enabled by his labor.
I think you missed this part:
The nub of the dispute with Hyperion is that the record
Roman Turovsky
I seriously doubt you'd get a FLOOD or a FLURRY of doubled responses
I routinely delete all the individual addresses from my posts.
[EMAIL PROTECTED]
Sawkins' copyright claim would be limited to the improvements which he added
or the derivative work, not the original unimproved work. A minor distinction,
but still with a difference.
I could reproduce the work that is in the public domain without his
'improvements' and
unless alternate choices of music can be seriously considered for the
baroque lute and alternative instruments considered for the playing of
baroque music, then i'd say this thread is at an end.
You can play anything you want on a baroque lute (you can probably have
Roman intabulate it for
bill killpatrick wrote:
i find the whole hip approach to early music to be something of a
tyranny. if we were to apply it to other disciplines - like painting
or opera, for example - then we wouldn't have verdi's shakespearian
operas or anything much beyond cave drawings.
You don't seem
Herbert Ward
England has produced many famous and innovative rock guitarists (and their
bands): Hendrix, Harrison, Page, and Clapton, to name a few. How
plausible is it that this is attributable, at least in part, to England's
lute history?
Not very. Hendrix was an American, and the
Francesco Tribioli wrote:
Considering that the first telescope was invented by Galileo 8 years after
Tycho Brahe's death,
Galileo did not invent the telescope; indeed, he learned of it from
published sources.
Those trying to find Galileo's Daughter will have a better time looking
for the
Alain Veylit wrote:
Is a fifth really a unit
of measure for whisky?
And any other liquor, including wine. 750 ml is close enough to a fifth of
a gallon not to worry about the difference.
I don't get the Ashcroft jokes, BTW.
Bill wrote:
my server couldn't connect to the sweeping generalization site you
mention.
go there often, do you?
Not necessary. These days I get free home delivery.
You wrote:
isn't it also the tune for pistol packin' mama
No, but there are a lot of songs of all sorts built on the same chord
progression.
Francesco was done, Francis thanked him and gave him his weight in gold.
Rather less than his weight, I think.
How was the band's name whose music one can only bear to listen when
being on a different planet?
Not quite that. In the interests of accuracy, from Douglas Adams' The
Restaurant at the End of the Universe, chapter 17:
Disaster Area, a plutonium rock band from the Gagracka Mind Zones, are
You wrote:
if i've taken
your collective measure - as it were - correctly i would say that a
popularization of the lute repertoire would probably cause most of you
to drop it immediately and go off in search of something even more
esoteric
* * *
for the most
Eugene Braig wrote:
I determine the degree of my emotional response to all artistic
endeavors based upon an inverse log scale to the degree of popularity of
said art.
A laudable goal, but your market research expenses must be astronomical.
Howard Posner (Mrs.)
P.S. I have never told a French person to get a backbone.
You wrote:
more lute music is to be heard at Ralph's than anywhere else in Southern
California... Probably some studies showed that (low decibel level) early
music can put people in the comfortable (zombie) state conducive to the
happy consomption of supposedly happy (yet now dead) chicken.
You wrote:
Some of the professional choral groups such as the Hilliard Ensemble
have recorded shape-note singing, but most of the fasola community
laugh at them. To bring a trained voice into a shape-note sing, or to
perform that music in any way, is to completely miss the point.
His
Martin wrote:
As to why 13c lutes had single seconds (and whether they always did) I leave
it to others to speculate.
One obvious speculation is that a 13-course bass-rider lute was a modified
11-course. The easiest conversion was to add the bass rider and leave
everything else alone.
HP
Ken Be wrote:
Certainly converting renaissance lutes into baroque
configurations by adding an additional top course (and additional diapason
courses)
seems logical enough, but I'm wondering why keeping the top two courses single
remained a feature on all baroque lutes thereafter.
Maybe the
bill at [EMAIL PROTECTED] wrote:
my favorite tautological (nice word, that - thanks) corruption of the
language is sometimes made by european sports commentators when
discussing events in football's champion sleague
Tautological may be a nice word, but it doesn't mean what you think it does.
David Rastall at [EMAIL PROTECTED] wrote:
I think it was Mark Twain (I think...)
George Bernard Shaw. You may be thinking of Twain's remark that the King's
English is not the king's, but a joint stock company in which America is the
majority stockholder.
He didn't consider India, of course.
David Rastall at [EMAIL PROTECTED] wrote:
Seriously, I was wondering whether passymeasures had its derivation
in the word passamezzo.
It's the generally accepted derivation.
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
I might consider it as an instrument for a beginner to learn continuo if the
price stays low.
Beware the string length. Some swan-neck lutes have fingerboard lengths of
more than 70 cm, which does not work well in G tuning unless the pitch is
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