Since the lute is so very light weight, all you need is cotton tape (or
silk ribbon) some 1.1/2 ins (4cm) wide. You can even buy it in Germany!
MH
On Sunday, 20 September 2020, 08:41:52 BST, Rainer
wrote:
Auf Deutsch, weil ich das nicht im Ausland kaufen will:
Ich will doch n
Thanks to those who pointed out the errors in my manner of inserting
interpolations - in fact, I did try to do something like this by
putting in spaces and inserting a dash before my comments, but much was
lost by the system not copying how I separated text (eg see the extract
below)
Dear Ron,
See my interpolations below. In short, please duplicate as closely as
reasonably possible the format and mechanisms etc of Wayne's list
regards
Martyn
On Saturday, 5 September 2020, 16:33:02 BST, Ron Banks
wrote:
I don't really know who (if anyone) is working on
Well said Ron,
The lutelist format and its arrangement is clearly much more suited
for the proper and serious, but still enjoyable, exchange of views and
for sharing information. It may be seen by some as 'old fashioned'
(and
I'm not sure what this really means in this context an
Do you not count Andrew Parrott's Una stravaganza dei medici?
Here's the opening
[1]Una Stravaganza Dei Medici (1)
[youtube.png]
Una Stravaganza Dei Medici (1)
On Friday, 28 August 2020, 08:21:54 BST, Jean-Marie Poirier
wrote
Dear Jay,
I think the problem with Facebook (and similar) is the usual one of
these social media led apps and, indeed, of a traditional webpage -
security. The advantage of email like the existing Lutelist is that
it's largely immune from such machinations. I really don't want to see
Dear Wayne,
Sad news indeed - I wonder if one of the national lute societies might
host the site? - it is a wonderful facility and it would be a great
shame for it to be lost.
And, of course, many grateful thanks for your kind service to our
fragmented community over the years
Dear Daniel,
It would indeed be very good if you could at least host the archive and
thank you for the Ning site - this can be a substitute if the Lute list
cannot be saved in its present (or similar) form by some kind person -
or persons.
regards
Martyn
On Sunday, 23 A
ed message -
From: Martyn Hodgson
To: Lute Dmth
Sent: Saturday, 15 August 2020, 08:17:03 BST
Subject: Early Neapolitan mandolin string tension
I'd be grateful for information about historic string tension on the
Neopolitan mamdolin, say, from late 18th through to mid 19th
I'd be grateful for information about historic string tension on the
Neopolitan mamdolin, say, from late 18th through to mid 19th century.
The mandolin related websites I've seem to focus on the 'modern' robust
instrument developed in the late 19th/early 20th centuries (often
arched
Many thanks Monica.
A veritable tour de force - though I'd expect nothing less from you!
regards
Martyn
On Saturday, 8 August 2020, 15:01:26 BST, Monica Hall
wrote:
Dear All
I have at last revised and substantially enlarged my study of these
enigmatic instruments.
Dear Martin,
I agree that the supposed low case 'r' is merely an earlier way of
writing 'c'. However I'm not one with you on writing tablature letters
in the spaces rather than on the lines.
Writing on the lines is generally the earlier form and, indeed,
persisted through to the
forms in the context of early seventeenth century Carolingian England.
Martyn Hodgson 2013
On Tuesday, 21 July 2020, 08:48:54 BST, David Brown
wrote:
Yes, I forgot to mention the Lawes consorts for harp. It has been a bit
up in the air as to what kind of harp wa
Dear Jorg,
Stand Oil. ie raw linseed oil which has stood and so partially oxidised
to the consistency of thick treacle. It softens on application but then
soon oxidises completely to forms a matt protective coat onto just the
surface of the bare wood. Indeed, the appearance is then o
pieces which were 80 years old at the time. Unless the
ms. is dated discretion is the best part of valour.
As ever
Monica
> On 05 June 2020 at 11:44 Martyn Hodgson
<[1]hodgsonmar...@yahoo.co.uk> wrote:
>
>
>Dear Monica,
>
>Well quite true
a manuscript with any sort of accuracy is from its
bibliographical makeup and even that is not straight forward.
As ever
Monica
> On 05 June 2020 at 11:05 Martyn Hodgson
<[1]hodgsonmar...@mail.cs.dartmouth.edu> wrote:
>
>
>Dear Ralf,
>No - I'm n
sic scholarly course of attempting to
date a source by its contents and style. I may, of course, be
wrong!...
Martyn
On Friday, 5 June 2020, 09:56:53 BST, Ralf Mattes
wrote:
Am Freitag, 05. Juni 2020 10:34 CEST, Martyn Hodgson
<[1]hodgsonmar...@mail.cs.dartmouth.edu>
e other pieces in the
manuscript are by our man. I assume that none of them are concordant
with those in the Goess ms.
Cheers
MOnica
> On 05 June 2020 at 08:21 Martyn Hodgson
<[1]hodgsonmar...@mail.cs.dartmouth.edu> wrote:
>
>
>Dear Roland,
>
like.
Are there any images online?
>
>Sent from my Huawei phone
>
>
> Original message
>From: Martyn Hodgson <[4]hodgsonmar...@mail.cs.dartmouth.edu>
>Date: Fri, 5 Jun 2020, 08:21
>To: [5]yuval.dvo...@posteo
l
>
> Am 04.06.2020 17:45 schrieb Monica Hall:
> > Thanks Martyn
> > That's very helpful.
> > Regards
> > Monica
> >> On 04 June 2020 at 14:35 Martyn Hodgson
> >> <[8]hodgsonmar...@mail.cs.dartmouth.edu&g
Dear Monica,
No - I don't know if there are any grounds for attributing the other
tiorba pieces in this Ms to Bartolotti other than, of course, being
adjacent in the same Ms. Incidentally the attribution of the Allemande
(Allemanda di Angelo Michiele) is on f.89r. not 92r.
The fol
t possible to set up an italian
theorbo with double courses.
Cheers,
Jay
__
- Forwarded message -----
From: Martyn Hodgson
To: Jay F.
Sent: Sunday, 3 May 2020, 08:24:35 BST
Subject: Re: [LUTE] St
Dear Donna and Ron,
I often find your Sat quotes interesting but don't always make time to
read every single one!
I wonder if you've considered of making them all available in some sort
of omnibus edition so that they can be readily accessed at a later,
more convenient, date. Just
stylish.
> F.T.Arnold in his book "the Art of Accompaniment from a
thorough-bass"
> showed a lot of examples.
> And good luck with this beautiful music!
> K.
> ÃÃ, 5 Ãà µà ²Ã. 2020 à ³., 14:02 Martyn Hodgson
> <[2][3]hodgsonm
tinuo instrument of XVII cent. And some archlutes could have octave
basses. I, personally, see no problem with d-minor tuning, but the
sound is different from archlutes, so the whole idea must be close, but
not the same.
Good luck!
ÃÃ, 5 ÃõòÃ. 2020 ó. ò 13:20, Martyn Hod
Howard's advice is very sound.
In practice, go through the score and figure up the bass part using the
'rule of the octave'; and generally employ 6 chords where the bass is
sharpened; and also use the occasional suspension (eg 7 - 6 or 4-3) to
taste (though an occasional passing cla
:thin and generally with
similar lute type barring. All these features make the mandora sound
much closer to the lute than the wandervogel 'lute'..
Martyn Hodgson
On Friday, 24 January 2020, 14:06:07 GMT, Seicento/Rainer Luckhardt
wrote:
Becoming a mandora enthusiast w
Well done Rainer,
- let's hope this produces even more interest in this relatively
neglected but, once, popular little family of instruments.
regards
Martyn
On Friday, 24 January 2020, 13:06:47 GMT, Seicento/Rainer Luckhardt
wrote:
Hi all,
I would like to inform you
- Forwarded message -
From: Martyn Hodgson
To: Baroque lute Dmth ;
Sent: Sunday, 19 January 2020, 15:43:03 GMT
Subject: Hobach Sinfonia Etc in Pll-Wn RM 4138 (olim Mf 2005)
Does any one know if the other instrumental parts of the Sinfonia (on
page 46 of this MS
Dear Jean-Marie,
One really doesn't need to be a 'professional' to read from early
MSs and printed editions - it's really not difficult and does a
disservice to many, if not most, lute and guitar players by
underestimating their abilities.
Where I do believe modern tablature edi
ritten tab. And with no page turns in pieces. Reading from
computer tab is like the difference between grape soda and fine red
wine.
Susan
Original message
From: Martyn Hodgson
Date: 12/22/19 3:10 AM (GMT-07:00)
To: lute@cs.dartmouth.edu, "Frank
a uniform and
Procrustean style favoured by the modern editor.
Martyn Hodgson
---
On Sunday, 22 December 2019, 00:52:34 GMT, Frank A. Gerbode, M.D.
wrote:
As a major purveyor of modern lute edi
condition
closer to that when the collection was first printed.
In short, players should feel encouraged to play direct from such
rather than modern printed editions which impose a uniform and
Procrustean style favoured by the modern editor.
Martyn Hodgson
On Friday, 20 December 2019
Martyn Hodgson:
>
[1][3]https://urldefense.com/v3/__https://i.redd.it/qtufsdsfwz241.jpg__
;!bvwDki4T53I!kh_zZmwalGl8C3drXCQQN46_ZhOqtMqKR40WuYa2hQwAmP62usf87WxFu
nyHs60$
>Recently an amusing pic was sent round (I can't remember who by -
>sorry) - link abov
[1]https://urldefense.com/v3/__https://i.redd.it/qtufsdsfwz241.jpg__;!b
vwDki4T53I!kh_zZmwalGl8C3drXCQQN46_ZhOqtMqKR40WuYa2hQwAmP62usf87WxFunyH
s60$
Recently an amusing pic was sent round (I can't remember who by -
sorry) - link above.
Can someone kindly tell me the location of th
few months.
Well that is the idea but from my experience in experimental phonetics,
I know this will never be entirely objective.
Best
Anthony
[1]Sent from Yahoo Mail for iPhone
Le lundi, décembre 16, 2019, 2:08 PM, Martyn Hodgson
a écrit :
Take your point Anthony,
gards
Anthony
[1]Sent from Yahoo Mail for iPhone
Le lundi, dà ©cembre 16, 2019, 12:26 PM, Martyn Hodgson
<[1]hodgsonmar...@yahoo.co.uk> a à ©crit :
Dear Anthony,
You might find it helpful to download your recording onto a PC or
tablet (from whatever recording
Dear Anthony,
You might find it helpful to download your recording onto a PC or
tablet (from whatever recording device - I use a Zoom H2) and then use
software like Audacity to produce a recording as you would wish it ie
without ridiculously excessive 'sound engineering' with, as you
Thanks Wayne. I thought it was something like this but couldn't quite
remember.
The business of blank lines: do you mean a soace between paragraphs
(which doesn't seem to produce a space when transmitted) or
---
actually typing in a
yers (S Moliotor's notes about some
Viennese
mandora player stringing his instrument with single strings are
particularly compelling).
However I am not close to the idea of silk wound strings but having
more historical evidences/
MH Yes - I again agree
On Saturday, 23 Nov
gs are
particularly compelling).
However I am not close to the idea of silk wound strings but having
more historical evidences
Yes - I again agree
Thanks for the contribute. Ciao
regards
Martyn
Da: Martyn Hodgson
Inviato: sabato 23 novembre 2019 11:20
A: Lute List
but Both T Mace and Talbot do not mentioned them at
all.
Need more investigations
Ciao
Mimmo
Da: Martyn Hodgson
Inviato: sabato 23 novembre 2019 10:31
A: Mimmo - Aquila Corde Armoniche ; Lute List
Oggetto: Fw: [LUTE] Calchedon strnging was Re: Mandora/Gallichon
68331802
regards
Martyn
- Forwarded message -
From: Martyn Hodgson
To: Braig, Eugene ; lute@cs.dartmouth.edu
; Mimmo - Aquila Corde Armoniche
Sent: Friday, 22 November 2019, 12:34:24 GMT
Subject: [LUTE] Calchedon strnging was Re: Mandora/Gallichon website
Hello Mi
Hello Mimmo,
By coincidence I've also been developing a paper on early gallichon
stringing for some time now, but have made but poor progress - mainly
due to lack of suitable iconography showing such details in enough
detail to draw definitive conclusions.
My own thesis is that th
Dear Ranier,
Much overdue - many thanks for this fine initiative.
I'll certainly try to contribute - but perhaps a dedicated email
address might be helpful too? Wayne, Might this be possible - if
desirable? (eg mandora@cs.dartmouth)
I very much like the idea of including the
Dear Jorg,
I play continuo on theorbo and other plucked instruments and also
employ the mandora/gallichon in nominal D tuning with a string length
of 75cm (and also the large calchedon in nominal A tuning with sl 98cm)
where the instrument is appropriate - ie mostly second to last qu
; is an irrelevant concept if you tune by
actually
listening; that's why your repeated demands for numbers are
going
unanswered.
> On Jul 26, 2019, at 6:40 AM, Martyn Hodgson
<[5][5]hodgsonmar...@cs.dartmouth.edu> wr
an irrelevant concept if you tune by actually listening;
that's why your repeated demands for numbers are going unanswered.
> On Jul 26, 2019, at 6:40 AM, Martyn Hodgson
<[1]hodgsonmar...@cs.dartmouth.edu> wrote:
>
> Thank you Stephan,
> Would you kindly sha
ards
Stephan
-Ursprüngliche Nachricht-
Von: [1]lute-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu]
Im Auftrag
von Roland Hayes
Gesendet: Freitag, 26. Juli 2019 13:36
An: Martyn Hodgson; [3]lute@cs.dartmouth.edu; Steve Ramey
Betreff: [LUTE] Re: Test
July 2019, 12:36:15 BST, Roland Hayes
wrote:
Or you could get a meantone tuner and use your ears and not a measuring
tape
Get [1]Outlook for Android
__
From: lute-...@cs.dartmouth.edu on behalf
of Martyn Ho
below
MH
----
Martyn Hodgson wrote:
Haven't got anything from the list for a couple days. This is only a
test.
Steve
--
To get on or off this list see list information at
[1]http://www.cs.dartmout
Further to all this, but on a slightly different tack: what precisely
is it that individuals mean when they advocate some particular form of
unequal temperament on the lute?
Much is freely bandied with phrases about 1/4 comma, 1/6 comma, 1/8
comma and other unequal temperaments but r
for the long post.
Cheers,
Rafael
En domingo, 21 de julio de 2019 11:19:08 CEST, Martyn Hodgson
escribió:
Dear Matthew,
Thank you for his - though I really do not know why you suggest a
'slanging match'!. My intention is merely to put some hist
bone to pick here (I play the renaissance lute in both
meantone and equal temperaments and the baroque lute almost exclusively
in equal temperament), but I do react unfavorably to sweeping
statements that have little grounding in fact.
Best,
Matthew
Le 21 juil. 2019 Ã 08:07, Ma
Dear Matthew,
Yes - of course this is the case. But you are making the common mistake
of discussing theoretical temperaments (mainly, in practice, only
employable on keyboard instruments) with practical temperaments
appropriate for fretted instruments such as the lute.
The problem
he sad remnants on display
up on my site at
[1]https://www.vanedwards.co.uk/Frei%20in%20bologna.htm
David
At 10:57 + 12/7/19, Martyn Hodgson wrote:
>Very interesting Davide, thank you.
>I see there's a copy of the book for sale - but at 150 Euros a bit
ack to a 19th century alteration, but could rather be
an example of "French archlute" dating from the 18th century, such as
the one owned by!
Dalla Casa and likely built by Fontanelli."
Best regards,
Davide
> Il giorno 12 lug 2019, alle ore 08:47, Martyn Hodgson
unlikely.
Best wishes,
David
At 06:47 +0000 12/7/19, Martyn Hodgson wrote:
>It is reported (in a CD liner) that there is an arciliuto in the
>collection of the Conservatorio di Musica in Bologna which may
be the
>very instrument played by Fillipo Dalla Cas
It is reported (in a CD liner) that there is an arciliuto in the
collection of the Conservatorio di Musica in Bologna which may be the
very instrument played by Fillipo Dalla Casa.
I've looked on the conservatoire's website but can find nothing. I'd be
grateful for any information
Am I missing something here? Surely one just reads the messages as far
back as suits the individual: this may be just the previous mail or the
whole thread. Otherwise, surely there's a danger of useful bits getting
lost for someone who picks it up at a later stage...
MH
On Friday
Ron Andrico is surely right to point out the debt we owe to Bream for
making a much wider audience aware of music for the lute: both solo
and with other instruments - the Morley consort lessons for example. I
have a much treasured 1950s EP by Walter Gerwig with solos by Santino,
b
ng Galaxy smartphone
Original message ----
From: Martyn Hodgson
Date: 6/8/19 2:41 AM (GMT-05:00)
To: Ron Andrico , corun ,
jslute
Cc: LuteNet list
Subject: [LUTE] Re: Renaissance rhyme
If limited just to London was the pronunciation adopted court or
edu
Hmmm. - " .doth protest too much, methinks".
Crystal may, indeed, be 'a very respected scholar', but surely this
shouldn't bar others from addressing the matter. What's your own
perspective on the issue?
Incidentally, here's his website:
[1]http://www.davidcrystal.com/?id=-
of
the 16th and 17th centuries.
Regards,
Craig
> On June 7, 2019 at 11:23 AM Martyn Hodgson
<[7]hodgsonmar...@cs.dartmouth.edu> wrote:
>
>
>Yes, this is a fairly common view - but I what's the
rea
; or "woynd." Ben Crystal helped with one of my theater
group
productions a couple of years ago.
Jim Stimson
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Martyn Hodgson <[2]hodgsonmar...@cs.dartmouth.edu>
the Crystals, "wind" would be pronounced something like
"woind" or "woynd." Ben Crystal helped with one of my theater group
productions a couple of years ago.
Jim Stimson
Sent from my Verizon, Samsung Galaxy smartphone
Original message
F
I suppose the question is not so much which words rhymed, but which
with which.
For example was 'wind' rhymed with the modern pronunciation of
'find/mind' - or did 'mind/find' rhyme with the modern 'wind' ?
An early spelling of 'winde' and 'kinde' might suggest the former - but
do
You ask: 'Is it common for makers to keep that paper stencil/pattern on
the instrument?'
For extant original instruments the answer is yes.
MH
On Friday, 7 June 2019, 03:11:32 BST, Edward C. Yong
wrote:
Hi Daniel,
The buzz has always been there as long as I've had the inst
his music then contact me off line and I will let you have
some of his works provided I get feed back of your thought.
Best wishes to all
Anthony
Il giorno ven 24 mag 2019 alle ore 10:43 Martyn Hodgson
<[1][1]hodgsonmar...@cs.dartmouth.edu> ha scritto:
Dear K
Dear Konstantin,
Thanks for this. I agree that the works do not always seem to fit well
on the G archlute and that an instrument in nominal A is often more
comfortable for some of Reggio's works.
Regarding the notation being either at pitch or an octave lower: look
at the Dalla Ca
Anthony Hart has done work on Reggio. Here are some links:
Anthony Hart MSc, LLCM,ALCM.
Musicologist and Independent Researcher
Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174, MALTA
Mob: +356 9944 9552.
e-mail: [2][1]resea...@antoninoreggio.com; web:
I use a Zoom H2 for recording concerts including those with singers,
strings etc as well as lute/theorbo/guitar. Very quick to set up with a
good field of capture. I then download to my PC and use Audacity
(others are available!) to adjust - this also avoids having to
undertake nume
edu [mailto:[3]lute-...@cs.dartmouth.edu]
Namens Martyn Hodgson
Verzonden: vrijdag 10 mei 2019 16:27
Aan: 'Lute List' <[4]lute@cs.dartmouth.edu>; Lex Eisenhardt
<[5]lex.eisenha...@gmail.com>
Onderwerp: [LUTE] Re: PS to Re: De Visee
Dear Lex,
I real
your choice for
no nails was based on.
Best wishes, Lex
-Oorspronkelijk bericht-
Van: [1]lute-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu]
Namens Martyn Hodgson
Verzonden: vrijdag 10 mei 2019 15:45
Aan: 'Lute List' <[3]lute@cs.dartmouth.edu
d to strumming are evident.
Best wishes, Lex
-Oorspronkelijk bericht-
Van: [1]lute-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu]
Namens Martyn Hodgson
Verzonden: vrijdag 10 mei 2019 10:22
Aan: Lute List <[3]lute@cs.dartmouth.edu>
Onderwerp: [LUTE] PS to Re
r the historical
practice - either way...
So you know: my own practice on the period guitar is to have the RH
nails just so long as to provide support to the 'nibble' end of the
plucking finger.
regards
M.
- Forwarded message -
From: Martyn Hodgson
nkelijk bericht-
Van: [2]lute-...@cs.dartmouth.edu [mailto:[3]lute-...@cs.dartmouth.edu]
Namens Martyn Hodgson
Verzonden: donderdag 9 mei 2019 08:49
Aan: [4]maan7...@cs.dartmouth.edu; Lute List <[5]lute@cs.dartmouth.edu>
Onderwerp: [LUTE] Re: De Visee
That's not the point
ST, magnus andersson
wrote:
Do we have any evidence of any historical guitar or theorbo player who
explicitly played without fingernails?
Den onsdag, maj 8, 2019, 3:20 em, skrev Martyn Hodgson
:
Hear! hear!.
And just because some theorbo players used nails by no mea
n Yahoo Mail fà ¶r iPhone
Den onsdag, maj 8, 2019, 3:20 em, skrev Martyn Hodgson
<[2]hodgsonmar...@cs.dartmouth.edu>:
Hear! hear!.
And just because some theorbo players used nails by no means that
De
Visee did. This is, of course, how modern myths
start
Hear! hear!.
And just because some theorbo players used nails by no means that De
Visee did. This is, of course, how modern myths start
Martyn
On Wednesday, 8 May 2019, 11:09:58 BST, Monica Hall
wrote:
Corbetta didn't have to pay his musicians out of his own p
You may consider transcribing some of Haydn's wonderful keyboard works
or violin and keyboard or piano trios - careful selection will throw up
works similarly accommodating to the the late lute as the Rust
pieces.. And, of course, some of the Baryton trios can work well with
lute in
Dear Martin,
Further to your note below, one of my theorbos is double strung in A
(after Alban 1704 fingered strings 88cm) and I can certainly confirm
your experience: the sound does, indeed, have more edge to it with a
lute-like sound reflecting the double stringing and lower finge
Dear Robert,
I'm not really convinced of the accuracy of the assertion that
... 'most theorbo players today manage fine using thumb
inside'
Firstly, that most competent habitual theorbo players actually employ
this historically rare (for the theorbo) practice.
Indeed. I well recall Eph Segerman remarking several years ago that
the obsession with thumb-under was, and for many remains, an attempt by
some modern lutenists to distance themselves from the hated classical
guitar which, ironically, many had started out on!
As you say Ron, the ev
There's no reason why the third finger should not be held on the belly
- rather than the more conventional fourth. Indeed, some historical
players (Kapsberger comes to mind) are recorded as only plucking with
the thumb, first and second fingers.
Further, it's not wholly unlikely tha
nstruments?
Martyn Hodgson
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
An Alman written for the lute by Robert Johnson set for the stump (a sort of
theorboed lute) by FP.
On Fri, 21/12/18, Alain Veylit wrote:
Subject: [LUTE] Re: stump?
To: "LuteNet list"
Date: Friday, 21 December, 2018, 17:43
‘Alman R. Johnson to
Dear Roman,
Apropos your interesting translation: you may, or not, be aware of
Fasch's orchestral concerto originally scored for two 'Chalc(hedons)'
which has single line writing in the bass clef presumably for the large
'A' tuned gallichon. He later crossed out Chalc and designated
the bridge'
advocated by early sources to produce a more penetrating sound.
regards
MH
__________
From: Andreas Schlegel
To: Martyn Hodgson
Cc: Jörg Hilbert ; lute list
Sent: Tuesday, 23 October 2018, 7:
Dear Andreas,
I'd be interested to know the name of your supplier of extra strong gut
trebles since at A415 the longest string length I, and others, have
found is reasonable (ie without almost instantaneous string breakgage)
for a string at g' is only around 64cm. A length of 67cm w
Martin,
For concerts I employ a stiff folder to which I've added an extra
fold-out leaf - thus making it suitable for a three page spread where
necessary. It has the added advantage of being easily transportable
and thus quickly setting up (and taking down) with eveything in the
After almost 25 years I'm revisiting these interesting works for
concerted lutes by Pacoloni:
(Tribus testudinibus lucenda carmina, Phalese, 1564)
I recall at the time we were puzzled by some of the second sections to
some of the parts ('Residuum') which seemed to have a strange
r
hether NIgel wanted to make the two instruments sound similar.
> On Aug 27, 2018, at 12:55 AM, Martyn Hodgson
<[1]hodgsonmar...@cs.dartmouth.edu> wrote:
>
> Indeed, I agree. Which is why I put the similarity in sound down to
> things other than how the two instrume
NN had his viola belly constructed like a
lute ..
MH
__
From: SW
To: Martyn Hodgson ; Sean Smith
; lutelist Net
Sent: Monday, 27 August 2018, 8:24
Subject: [LUTE] Re: Nigel's Francesco vol 2
It may, of course, simply be down to a self-opionated sound/recording
engineeer. Some of these seem ignorant of what period instruments
actually sound like in the flesh and seek their own subjective
recording 'balance' and tonal qualities. They, in their ignorance, may
even think a v
elow) made in April last and the spam filter will
continue.
Martyn Hodgson
---
-
2 Apr at 12:10 PM
To T[1]ristan von Neumann [2]lutelist Net
Thank you for this. As I understand it your ba
Cullane may mean modern Koln/Cologne - centre for international trade
at the time.
If I recall aright, Mace speaks of Cullen cleft as a type of wood for
lutes.
MH
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From: "theoj89...@new-old-mail.cs.dartmouth.e
Dear Martin and others,
And also, of course, if one wishes to wholly preserve the rib and neck
depths, the following procedure - but an even bigger, albeit more
thorough, job than that you well outline below:
Remove belly, fingerboard and neck;
Take out the nail(s) in the top blo
sions.
MH
- Forwarded Message -
From: Martyn Hodgson
To: Andreas Schlegel ; Lutelist Net
Sent: Sunday, 13 May 2018, 10:57
Subject: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
Dear Andreas,
Yes - Otterstedt's very fine
important, so I hope you won't mind me copying this reply
to the wider list.
regards,
Martyn
From: Andreas Schlegel
To: Martyn Hodgson
Sent: Saturday, 12 May 2018, 9:26
Subject: Re: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
Dear Martyn,
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