On Dec 17, 2007, at 12:53 PM, [EMAIL PROTECTED] wrote:
I have never heard of a 12 and 6 stringed double
guitar;
That is indeed the standard double-necked electric instrument. See:
http://en.wikipedia.org/wiki/Gibson_EDS-1275
http://www.musiciansfriend.com/navigation?q=DOUBLE%20NECK%
I have to say it's flattering to think that playing thumb-out makes
me exceptional, or cutting-edge, or both. It's pretty much the only
way I've played in my 25 years as a lute player, and in all the
seminars and whatnots I attended in the 1980's and 90's (in which I
played in master
On Dec 16, 2007, at 12:39 PM, David Rastall wrote:
Well, all right ;-) You have correctly discerned what I don't
mean. Or don't mean to deny...(huh?) Thereby narrowing the focus
down to what I do mean: that very close to the time of 1607, i.e.
400 years ago, there was a technical
On Dec 16, 2007, at 4:01 PM, Stewart McCoy wrote:
Dear Howard,
One of the most interesting sources which tell us how some people
played the lute, is the Stobaeus Manuscript in the British Library.
Apart from the music and lots of pretty pictures, there is an
introduction about
Sorry -- hit the send button prematurely. Here's a more intelligible
version:
On Dec 16, 2007, at 4:01 PM, Stewart McCoy wrote:
Dear Howard,
One of the most interesting sources which tell us how some people
played the lute, is the Stobaeus Manuscript in the British Library.
Apart from
On Dec 15, 2007, at 4:47 AM, Anthony Hind wrote:
Dowland can't quite have been the sombre weepy fellow he made
himself out to be.
He didn't, really.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Dec 10, 2007, at 12:56 AM, Martyn Hodgson wrote:
As said: I don't really see why I should go to the considerable
trouble of listing the many scholarly papers and books which have
dealt with this question in depth (Haynes is but one) since Ellis's
pioneering work was published in
On Dec 10, 2007, at 1:44 AM, LGS-Europe wrote:
Or for singers: in the Paris' Opera a' was 423Hz in 1810, and had
risen to 431.7Hz by 1822. The singers complained and had it brought
down to 425.8Hz. This lasted only 5 years; in 1830 it was back at
430.8Hz and continued to rise.
George
As long as we're on the subject, curious minds might check out
www.schillerinstitute.org/music/petition.html#unique_experiment
for a peculiar modern pitch controversy with some unlikely names
attached. Here's a sample:
The Campaign To Lower the Tuning Pitch
On April 9, 1988 at a
I'll play either way (though I have learned that discretion is the
better part of value with an archlute or theorbo unless the ceiling
is high); sometime's find standing is easier because gravity holds
the instrument in place. Of course, that's not the only thing
gravity does. If your
When I met Toyohiko in 1982, he was using nylon trebles that he
twisted (with a small manual drill) to increase their density and
make them more like gut. I tried it for a while; more trouble than
it was worth.
On Dec 9, 2007, at 7:06 AM, LGS-Europe wrote:
I once asked Toyohiko Satoh
Martyn Hodgson wrote:
In some usages Rome pitch was considerably higher than current A440
I wrote:
This is tantalizing (assuming you're talking about 17th-century
Rome). Where in Rome was pitch high? And who documented it?
On Dec 9, 2007, at 12:12 AM, Martyn Hodgson wrote:
As I said, I
On Dec 9, 2007, at 11:42 AM, Edward Martin wrote:
Yes, there is a concerto for lute recorder in d minor. It is a
fun piece!
And another by Baron in G, no?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Dec 9, 2007, at 11:51 AM, Jose Luis Rojo wrote:
Yes, interesting Duetto too, but it is for Traverso and out of the
recorder scale.
But perhaps playable on a voice flute or tenor recorder?
--
To get on or off this list see list information at
Music written for a big instrument tends to take the size into
account. There aren't a lot of big left-hand stretches in the
Italian theorbo music I've played. I don't know much about the
French repertoire.
On Dec 8, 2007, at 9:04 AM, T. Diehl-Peshkur wrote:
Interesting. This is all new
On Dec 7, 2007, at 11:57 PM, Martyn Hodgson wrote:
In some usages Rome pitch was considerably higher than current A440
This is tantalizing (assuming you're talking about 17th-century
Rome). Where in Rome was pitch high? And who documented it?
--
To get on or off this list see list
I believe both Doni and Mersenne wrote that pitch in Rome was
considerably lower than in Northern Italy, though I'm afraid I'm no
use at all in citing those sources.
Thank you for this. I'm not sure where Andreas gets his
information about Rome pitch
Andreas wrote:
The pitch (chorista
The whole oratorio, Il Sacrifizio di Abramo, was recorded by Weser-
Renaissance Ensemble, directed by Manfred Cordes, with Susanne Ryden,
soprano; Ralf Popken, alto; Jan Stromberg, tenor, and most
importantly, Thomas Ihlenfeldt on archlute. Classic Produktion
Osnabruck, CPO 999 371-2.
On Nov 30, 2007, at 8:28 AM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
No, sadly, the person - a baroque music specialist and
international recording artist with a distinguished
pedigree from a prestigeous early music program - was
speaking of hearing Weiss performed under the capable
On Nov 29, 2007, at 7:00 AM, Wayne Cripps wrote:
I would think that in the old times, a lutenist would mostly play
music from his or her time. They obviously would not play
anything from their future, but I am sure they were mostly
not too interested in music of the past, except perhaps for
On Nov 29, 2007, at 2:16 PM, [EMAIL PROTECTED] wrote:
I also believe this road of super-specialization
(i.e. _must_ use a 7-course for this piece, _only_ a
9-course for this..., etc.) is an _extremely_
dangerous road to go down for the entire field.
** *
How can you
On Nov 29, 2007, at 8:58 PM, [EMAIL PROTECTED] wrote:
Really, really bad example. Lots of ensembles do
German Music,
1712-1720. They title it Complete Brandenburgs
and sell lots of tickets.
But this isn't quite fair - Bach and Brandenburg
Concerto are names people recognize.
You
On Nov 20, 2007, at 2:24 AM, Stuart Walsh wrote:
Martyn Hodgson wrote:
Following recent communications which mentioned FoMRHI, I
contacted Eph Segerman and include the relevant part of his reply
below.
In short, anything in FoMRHI not specifcally restricted as
detailed below
Ever try just tuning down a semitone and playing a G instrument?
On Nov 19, 2007, at 10:03 AM, Stewart McCoy wrote:
My theorbo is tuned at A=415, and is not designed to go up to
A=440. However, if I need to play at A=440, I get round the problem
by turning the 14th course (G) down to
I know the feeling. For me, every now and then a correct chord creeps
in. It's very gratifying when that happens.
On Nov 19, 2007, at 3:29 PM, Stewart McCoy wrote:
I can happily read figured bass on a G lute and an A theorbo, but
when I swap the tunings around, mistakes start to creep in.
On Nov 17, 2007, at 9:34 PM, Michael Bocchicchio wrote:
With three different tags inside, do we know beyond the shadow of
a doubt that the whole soundboard was not remade in the later half
of the 17th century? -- It was a common practice. I saw no
discussion of that in the thread,
Hmmm... no wonder they were such a big influence on Nigel North.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I just went back through Eric's article, then sat down at my computer
and saw his own Reader's Digest version.
On Nov 14, 2007, at 9:33 AM, Eric Liefeld wrote:
I agree with Eugene that what Vivaldi meant by leuto is still
open to debate. For a number of reasons, I don't think
these leuto
On Nov 14, 2007, at 12:47 PM, David Tayler wrote:
Obviously it does not fit perfectly on the archlute or people would
not transpose it.
Who transposes it?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Nov 12, 2007, at 12:41 PM, Roman Turovsky wrote:
There are levels of Prominence, and it is not necessarily achieved
by merit, as we all know.
The question was about evidence of tastini. My point is that
Galilei's remarks indicate that tastini usage had a prominence that
he
On Nov 13, 2007, at 6:47 AM, Nigel Solomon wrote:
Everything about it screams guitar to me: the sound, the nails, the
general approach. Yes, a guitar that looks a bit like a lute!
To me, everything about it screams liuto attiorbato, like a good many
historical instruments in museums with
Of historical liuti attiorbati, Nigel Solomon asks:
Are any single strung?
They probably all have pegs and holes for double courses, but that
doesn't mean that baroque-era players never used single strings on
them, the same way modern players do. Nobody makes much of a fuss
about the
Re Luca Pianca's single-strung liuto attiorbato in A, Bruno asks:
Is there any advantage on playing such an instrument in Vivaldi?
I suspect the primary advantage of a small instrument is that it's
easy to travel with it. But in late baroque music, where the
continuo lines tend to lie
I wrote:
Tyler will tell
you that there was no soprano liuto in Italy,
meaning in the 18th century
and when Vivaldi
wanted mandolino he wrote mandolino. And I believe Vivaldi's
liuto parts contain continuo parts in the tutti sections (Malipiero
left these parts out of his landmark
On Nov 12, 2007, at 11:28 AM, Roman Turovsky wrote:
a.. Eumatius [the student]: ... Also, how does it happen that you
do not use frets that are spaced by unusual inequality of
intervals, and some other little frets that take away the sharpness
from the major third and tenth, as I have
On Nov 12, 2007, at 12:04 PM, Roman Turovsky wrote:
Unless he meant it ironically/sarcastically. Take David vO. He is a
universally known, skillful man
Leaving his skills out of it, he certainly isn't universally known.
Not like David Beckham or Osama bin Laden or Paris Hilton. Or Sting.
On Nov 12, 2007, at 6:15 PM, Bruno Correia wrote:
The neck looks a bit short
Not for a liuto attiorbato.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Bruno Correia wrote:
Is this a baroque lute?
It is, but probably not what you mean by baroque lute. It's
probably best described as a liuto attiorbato. It's configured as a
single-strung archlute in A.
http://www.youtube.com/watch?v=lF4GKIILF_U
Seems to be single strung through out...
On Nov 4, 2007, at 2:10 PM, Edward Martin wrote:
The young lady who was found guilty is a
single mother with 2 young children, and she earns $30,000
annually. She
will never be in a position to pay off this hefty fine. If my
understanding is correct, she shared popular song downloads,
On Nov 2, 2007, at 12:53 PM, Arne Keller wrote:
Anyway, why are we all so afraid of the copyright-bogeyman?
I mean, the Feds haven't nuked YouTube yet, have they?
The Feds aren't going to. The content providers whose videos have
been pirated will. YouTube is trying to avoid legal action by
PS. #73 has an identical beginning as 2 of Molinaro's fantasias.
Neither remarkable nor much of a coincidence.
The first three or four notes are a formula known in Italy as, if I
recall correctly, the canzona francese. Pieces based on it were
common--Giovanni Gabrieli was particularly fond
On Oct 25, 2007, at 10:54 AM, Narada wrote:
Has anyone got Holborne's A Galliard as a Fronimo File?. I've just
been told
that I am playing it wrong and I would like to check it as my only
reference
to this when learning it came via Mr Akkermans version
Holborne wrote 19 galliards for
On Oct 23, 2007, at 12:02 PM, LGS-Europe wrote:
I happen to have Telemann's 'Sing, Spiel Generalbass' (great for
learning/teaching continuo) in a Baerenreiter 1968 edition. No
Weiss is mentioned. What is the title of the piece by Weiss? All
the pieces in my edition are songs, and
On Oct 18, 2007, at 3:29 AM, Martyn Hodgson wrote:
Note also that one of the very few examples of early practice using
'meantone' Lindley could detect (in Luis Milan's works) was based
on his belief that Milan always avoided certain frets: in fact
later work looking at all of Milan's
On Oct 15, 2007, at 12:42 AM, Anthony Hind wrote:
But if you feel Lawyers take too much teasing, then just think of
us phoneticians,
I'm afraid no one ever does.
Sorry though if you feel your trade is too often a butt of jokes. I
can understand that could be somewhat tiresome.
I
On Oct 13, 2007, at 5:24 AM, vance wood wrote:
Roman; you are correct but there is one caveat, it takes a lifetime
of practice and training to become a competent archer and a couple
of weeks to learn to shoot an harquebus, if you don't blow your own
head off first. That one fact caused
On Oct 13, 2007, at 1:20 AM, Anthony Hind wrote:
Those law students were probably learning how to drum up conflicts
out of nothing, so someone would file a law suit, and they could
offer their services. That is what in French universities, they
call travaux praitiques. They would have
On Oct 13, 2007, at 10:38 AM, Roman Turovsky wrote:
went through almost any thing and every thing that was hit,
including the armored Knight.
VW
I am having a bit of trouble trying to commiserate with the latter.
He was probably the one employing a lute player, so be kind. A bit
like
On Oct 13, 2007, at 3:17 PM, Anthony Hind wrote:
Howard, you are thinking the law students are expecting the lute
player to lose; but if you can prove you couldn't possibly hear the
lute, even if you're in the same room with it (so long as the
library walls are lined with books), it
On Oct 12, 2007, at 10:08 AM, Roman Turovsky wrote:
Possibly. However a sense of humer is not really useful in
jurisprudence.
You'd be surprised. We're a pretty quippy lot, and the ones who
aren't are often unintentionally funny.
--
To get on or off this list see list information at
On Oct 2, 2007, at 9:45 AM, Herbert Ward wrote:
I read in a dictionary that the word rubato arose around 1880.
You're reading the wrong dictionary. The word was certainly familiar
by the mid-19th century, if not earlier.
What word did the lutenists of da Milano's time use?
What is the
On Sep 29, 2007, at 11:18 AM, T. Diehl-Peshkur wrote:
(by the way, I am a harpsichordist by training, not really a
lutenist- yet,
so if my thinking is skewed, just say so.)
I'm not qualified to comment on your thinking (ten years of marriage
to a harpsichordist inclines to me suspect
On Sep 25, 2007, at 5:20 PM, Nancy Carlin wrote:
I don't think all of those pieces have been recorded. I would love to
buy the CD when they are recorded!.
Don't hold your breath waiting for it. I think they're too similar
in effect to make a good program strung together one after the other.
No one who has heard the recordings Tony and Emma have done over the
years would be surprised at how soft he is. Even in the studio,
where he could easily control the balance, he tends to be soft.
To get on or off this list see list information at
On Sep 10, 2007, at 7:02 AM, David Rastall wrote:
The same sort of argument applies to humidity: the air in the case
is the same as that in the room outside it. So hanging the lute on
the wall does not necessarily expose the lute to more or less
humidity than it it would get in its case.
Does anyone suspend his or her lute from a wall? Is there a good,
safe
way
to do this?
Sure. First you have to put the wall in a snug-fitting, well-
cushioned case...
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Sep 9, 2007, at 9:47 PM, Jim Abraham wrote:
I take lessons from Chris Henriksen in Boston, and all his lutes
(and his
wife's viols) are hanging on the walls of the music room. There's
no way
they all could be put in cases -- you'd need a room just for the
cases.
That's the first
On Sep 6, 2007, at 5:44 AM, Roman Turovsky wrote:
There was an exchange with TCrawford apropos.
And Tim used to join Weiss for tea?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Sep 5, 2007, at 3:14 AM, Stewart McCoy wrote:
One of the arguments in favour
of using the mandora is that they bought a couple for the church at
Leipzig
when Bach was there.
Is this documented? I'm aware of the letter from Kuhnau, Bach's
predecessor as cantor in Leipzig, writing to
On Aug 28, 2007, at 6:22 PM, Robert Clair wrote:
A stretchier stringing (weaker spring
constant) will take longer to slow the ball down and accelerate it
back in the other direction but it won't affect the return speed.
(Again, assuming it is mostly elastic which means it eventually
returns
On Aug 27, 2007, at 1:37 PM, Robert Clair wrote:
Wrong - if by delay you mean the time it takes for the ball to squish
into the racket, reverse direction and come off. This time interval
depends on the spring constant involved (essentially the elastic
characteristics of the ball and the
On Aug 26, 2007, at 3:35 AM, Anthony Hind wrote:
Initially, he was slightly disappointed, thinking his strokes were
less powerful, but gradually he realized the racket absorbs the
vibrations from the attacking ball far better. He reports there is
almost a slight delay in rebound, between the
On Aug 26, 2007, at 8:54 AM, Anthony Hind wrote:
You may be right, about the speed (except pehaps the greater
movement back gives greater power forward, I have no idea) , but
more control, and subtlety is surely what we all want, wouldnt you
say?
Not if you're playing continuo in an
On Aug 24, 2007, at 3:52 AM, Karen Hore wrote:
One group lurker to respond to the original post 6 months
from now
and start it all over again.'
And, of course, one to recycle the how many listers does it take
joke every couple of years.
--
To get on or off this list see
On Aug 22, 2007, at 6:59 PM, Jim Abraham wrote:
have Satoh's and Lundgren's methods, and I've
looked at Roman's website, so I understand the tuning, but if I
tune the
first course to f3, the 13th course is waaay too slack to play.
Even the
first course seems too slack at f3, but then
On Aug 15, 2007, at 3:07 PM, Stephan Olbertz wrote:
don't buy the cheap stuff from Pakistan (Hobgoblin). Really!
I have no personal experience with the Pakistani lutes, but someone
asks about them on the list every year or so, and the answers have
always been the same: if you have
On Monday, Jul 30, 2007, at 07:41 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
Purely anecdotal evidence to the contrary: All of the
upper-end stores that sell CDs in my area have removed
their Early Music catagories. At the same time
their Classical Music sections have shrunk
On Sunday, Jul 29, 2007, at 00:53 America/Los_Angeles, Rob Mackillop
wrote:
And did I play parallel octaves? Yes, and still
do - just like most 17th-century lutenists, I'll wager.
And keyboard players, for that matter. In the preface to La
Rappresentazione Di Anima E Di Corpo (1600),
Alfonso, you seem to have jumped the fence and joined the Rob McKillop
Subjectivity in Continuo Club.
On Sunday, Jul 29, 2007, at 09:27 America/Los_Angeles, Alfonso Marin
wrote:
Can you imagine a continuo realization of for ex. Amarilli mia
bella with parallels all over the place? I
It's not surprising that Hindemith would do arrangements of pieces
Attaignant published. He directed the collegium at Yale.
On Friday, Jul 27, 2007, at 01:56 America/Los_Angeles, Ed Durbrow wrote:
Well, what do you know?! I'm surprised I've never heard of these
before. Any recordings, I
On Thursday, Jun 21, 2007, at 02:21 America/Los_Angeles, Anthony Hind
wrote:
[Rather a lot of interesting historical-phonetical-type stuff]
In addition to looking to regional or temporal changes in
pronunciation, or just plain instability, to explain why Shakespeare
rhymed daughter with after
On Monday, Jun 18, 2007, at 17:21 America/Los_Angeles, Mathias Rösel
wrote:
[EMAIL PROTECTED] schrieb:
Any recent research?
One suggestion I heard of is that both fundamental and and octave
strings are required for the 1st and 2nd courses.
Not so recent any more, but Andrea Damiani's
On Saturday, Jun 16, 2007, at 04:41 America/Los_Angeles, Narada wrote:
I didn't class the second paragraph of David's e-mail as a basic
answer.
Clearly not. That was the problem.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Friday, Jun 15, 2007, at 09:13 America/Los_Angeles, Narada wrote:
I'm forming the opinion that there
are certain 'members' on this list who have adopted a rather arrogant
and elitist attitude towards guitarists for whom the lute is a second
instrument.
Obviously, you formed such an
On Tuesday, Jun 12, 2007, at 13:24 America/Los_Angeles, Gordon Callon
wrote:
If I remember correctly, this is taken from the 1966 film by the
National Film Board of Canada, about Igor Stravinsky travelling to
North America, and conducting the CBC Symphony Orchestra in a
recording of his
On Thursday, May 31, 2007, at 13:55 America/Los_Angeles, Ron Fletcher
wrote:
In my opinion lute-tablature can only be written by someone who can
play the
lute.
Probably true, but that doesn't stop a lute-illiterate from being the
author of lute music. Thomas Morley said he couldn't play
Some time ago (don't ask me when) Arthur Ness gave us lengthy post on
diplomatic spellings that dealt with Kapsberger and his twin brother
Kapsperger. Maybe someone can scrounge it up.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Tuesday, May 1, 2007, at 03:19 America/Los_Angeles, John Scott wrote:
do any of the sources give a reason for this kind
of thumb technique, or is it just some odd quirk in the evolution of
playing?
I don't know if the sources say why, but it would have been obvious to
a renaissance-era
On Tuesday, May 1, 2007, at 09:04 America/Los_Angeles, Joseph Mayes
wrote:
2. ...bend your wrist too much like playing the classical guitar I
have
heard, and continue to hear this stated - it ain't so! Classical
guitarists
do not - repeat do not - bend their wrists. Playing perpendicular
The operative phrase in Joseph's statement was Classical guitarists
do not - repeat do not - bend their wrists.
Ah... I should have known that Playing perpendicular to the strings is
a sure way to produce a thin, naily tone was an inoperative statement.
Thanks.
Cordially,
Ronald
On Tuesday, May 1, 2007, at 12:26 America/Los_Angeles, EUGENE BRAIG IV
wrote:
Even if rather small, I'd wager the fingers will be at enough of an
angle to incorporate some flesh in the stroke.
You seem a bit defensive about your lack of size...
To get on or off this list see list
On Wednesday, Apr 11, 2007, at 08:40 America/Los_Angeles, Narada wrote:
Mind you if someone could up with a
'light' version of 'Stairway to Heaven' they could be on a winner.sorry
I thought of it first, my idea,
Not so, I'm afraid.
To get on or off this list see list information at
On Wednesday, Apr 11, 2007, at 09:43 America/Los_Angeles,
[EMAIL PROTECTED] wrote:
Consider this: how many of us would be driving cars if
getting a limited one-month licence from the
government cost $200 each time we needed it?
And with that, we've solved the global warming problem...
To
On Tuesday, Apr 10, 2007, at 04:46 America/Los_Angeles, Daniel Shoskes
wrote:
I don't have access to the liner notes online. Is there any
historical precedent for a lute/mandolin pairing in the Baroque?
I have the LSA Quarterly review copy, and the liner notes say little
more than that
On Tuesday, Apr 10, 2007, at 15:53 America/Los_Angeles, Denys Stephens
wrote:
I have a lot of sympathy with your view that
art belongs to everyone,and in that sense we
shouldn't have to pay for it.
But Alfonso didn't say that. He said these books belong to humanity.
But if that's
totally
. You could check with Michael Miranda
[EMAIL PROTECTED]
or Howard Posner
[EMAIL PROTECTED]
Both are on the Lute Society of America board and will know who is
possible.
The closest read luthier I know is Ken Brodkey a bit of a drive
North in Watsonville. His email is
[EMAIL PROTECTED]
I
Carlin wrote:
There might be some guitar builders in the LA area who could do
this, but I don't know any. You could check with Michael Miranda
[EMAIL PROTECTED]
or Howard Posner
[EMAIL PROTECTED]
Both are on the Lute Society of America board and will know who is
possible.
To get on or off
an album
of Luzzasco Luzzaschi's music composed for the Three Ladies of Ferrara.
On Sunday, Apr 1, 2007, at 08:27 America/Los_Angeles, Howard Posner
wrote:
I just wanted to remark that I
haven't been on the LSA Board of Directors for a while now. As most of
you know, I was hounded off
From: Alice Renken [EMAIL PROTECTED]
The root word here is viola. The diminutive
ending is ino, giving violino, little viola.
Meaning small viol, of course.
ello is an aggrandizing ending, so violoncello is big viola.
This is a bit backward. Ello is a diminutive, and a violoncello is
a
On Friday, Mar 16, 2007, at 10:35 America/Los_Angeles, Arthur Ness
wrote:
And do bows get larger as the instrument for which they
are intended get larger? Why not?
At least with modern orchestral bows, for each larger instrument the
diameter of the stick increases but its length decreases
Neill Vanhinsberg wrote:
It's a viol. Descended from the violone.
The double bass section of a modern orchestra is something of a racial
melting pot. Some instruments have violin bodies while others have the
slope-shouldered viol form. Post-baroque basses have historically
taken a number
On Friday, Mar 2, 2007, at 13:26 America/Los_Angeles, Gordon Callon
wrote:
I can find no particular reference to Saul in this article.
Nor is there a mention of 1739. Burrows says there are no records
between 1720 and 1753.
HP
To get on or off this list see list information at
On Wednesday, Feb 28, 2007, at 09:28 America/Los_Angeles, Ed Durbrow
wrote:
Perfect pitch is a form of memory. Some percentage of people are born
with a capacity for extraordinary memory. Why would it have been
different then?
I think Dan asked the question because people with absolute
after that grand tour, which I'm sure is wrong.
Howard Posner
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Saturday, Feb 10, 2007, at 07:16 America/Los_Angeles, Daniel Shoskes
wrote:
My Italian is rusty, but I think she is yelling at the archlute
player (Luca Pianca?) to re-string completely in gut.
Well, she was singing in Latin, so your translation's a bit suspect...
I found I could listen
On Saturday, Feb 10, 2007, at 09:27 America/Los_Angeles, Anthony Hind
wrote:
Looks like a case for Peter Schickele, the arclute feller's there and
right up front, but blowed of I can hear him, because it kinda looks
nice ?( www.schickele.com/).
However, best not to judge from a YouTube
Daniel Shoskes wrote:
Since based on the evidence of her recordings and performances we
know that she actually CAN sing in tune, I'm giving her the benefit
of the doubt on this one that she was singing this way intentionally
for dramatic effect.
Giving her the same benefit of the doubt, she
On Friday, Feb 9, 2007, at 10:58 America/Los_Angeles, [EMAIL PROTECTED]
wrote:
Hello, I have looked everywhere for an
arrangement of Bachs Chaconne BWV 1004 for 11 or 13 stringed lute.
Gusta Goldschmidt did a 13-course version of all the violin sonatas and
partitas, published in 1983 by
On Thursday, Feb 8, 2007, at 09:34 America/Los_Angeles, Anthony Hind
wrote:
One person thought that it was not possible to use a gut lute string
over 114 cms. Obviously, this must depend on diameter, but would you
know whether there is any such limit?
What would be the longest useable gut
Anthony Hind wrote:
The person I quoted realised they had made a mistake, but my question
coming from that was, does length play any role in the breaking point
of a string, or is it simply tension, thickness and the material it is
made from?
Again the answer is probably obvious and a
901 - 1000 of 1376 matches
Mail list logo
