On Mon, Jun 25, 2007, Arthur Ness [EMAIL PROTECTED] said:
Isn't it the London Serpent Trio?
quite right, a senior moment, typing from memory.
Titanic Records. Boston based. Who runs it?
I would have to look at the record jacket. Bought mine at the Harvard
Coop in one of those rare
Dear Martin, or any body else,
I am still wondering whether my interpretation of the
quotations in
your web page, Martin, as implying that the 5th course could have
been in unison for Holbourne, Dowland, etc, is at least compatible
with the facts as known, or whether it is a
Le 25 juin 07 à 13:48, Anthony Hind a écrit :
Oups, I lmeant 17th century
AH
Dear Martin, or any body else,
I am still wondering whether my interpretation of the
quotations in
your web page, Martin, as implying that the 5th course could have
been in unison for Holbourne,
Sorry again, nooo of course I didn't mean 17th century, I clearly
meant 16th century.
Hardly have I put key to computer than I became struck by self doubt.
AH
Le 25 juin 07 à 14:13, Anthony Hind a écrit :
Le 25 juin 07 à 13:48, Anthony Hind a écrit :
Oups, I lmeant 17th century
AH
On Jun 25, 2007, at 7:48 AM, Anthony Hind wrote:
...could not several modes of stringing have continued
side by side during the period...?
They continue side by side today, so I would imagine that they did
then too. I don't see that the Old Ones thought any differently
than we do today.
Le 25 juin 07 =E0 17:01, David Rastall a ecrit :
On Jun 25, 2007, at 7:48 AM, Anthony Hind wrote:
...could not several modes of stringing have continued
side by side during the period...?
They continue side by side today, so I would imagine that they did
then too. I don't see that the
Dear Anthony,
Just to make a further attempt at clarification:
I think it was normal on 6c lutes for most of the 16th C to use octaves
on courses 4-6. This belief is based on treatises, tuning instructions
and iconography and I suppose there is not much argument about it,
though even so I
On Mon, Jun 25, 2007, LGS-Europe [EMAIL PROTECTED] said:
Anthony, and others
interpret, is often very closely linked to the type of instrument and
stringing that the composer used, then I suppose we would want to try
to reproduce at least the essential elements that were connected with
:[EMAIL PROTECTED]
Sent: Monday, June 25, 2007 3:23 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Carbon versus KF, Venice versus Lyons?
On Mon, Jun 25, 2007, LGS-Europe [EMAIL PROTECTED] said:
Anthony, and others
interpret, is often very closely linked to the type of instrument
On Mon, Jun 25, 2007, Guy Smith [EMAIL PROTECTED] said:
Hey now, I resemble that remark... I'll confess that I've never played my
serpent with others (AFAIK, the nearest one to me is in Portland), but I can
usually hold my own with shawms
well, best advice I can give (having played shawm.
On Jun 21, 2007, at 5:07 AM, Martin Shepherd wrote:
The music often suggests octaves when a cadence is resolved at the
wrong octave, or a scale passage jumps octave for no apparent
reason,
or a note which is needed for correct voice leading or point of
imitation is apparently missing but
Dear Martin
I am very glad to have your intuition on the subject of stringing.
There was a time when at each new recording, lutists would discuss
the stringing they adopt.
Now this is very much a thing of the past, and yet it was an
educative feature of such recordings (many made
Dear David and Anthony and All,
Sorry, the bit about English lutenists being backward was just my little
joke - but they were far from the centres of string production, and
Dowland complains about the inferior quality of some of the strings
available in England. If the English found it more
Dear Martin
I see from this that there has been a confusion. I did not have
unison stringing on the 6th, only the 5th up.
My question raised in my last message remains, as I am not sure (as I
stated just now), how I should interpret your page (I think that
probably is a reflection of
Dear Anthony,
I have not tried KF for the 6th course but I am pretty certain it would
be too stiff.
As far as transitions from one course to another are concerned, I think
you need to make the 5th course brighter, not compromise the 4th course
by making it duller. Having an octave on the 5th
Le 20 juin 07 =E0 10:45, Martin Shepherd a ecrit :
Dear Martin
I have not tried KF for the 6th course but I am pretty certain it would
be too stiff.
The Lyons are also relatively stiff (it is high twist, but not double-
twist like the Pistoy or the Venice), and perhaps it does need an
octave
Sorry the quotation levels seem to have been removed from my last
message. I will try again.
Dear Martin
Le 20 juin 07 =E0 10:45, Martin Shepherd a ecrit :
Dear Anthony,
I have not tried KF for the 6th course but I am pretty certain it
would
be too stiff.
The Lyons are also relatively
Dear Anthony,
Thanks for the extra information.
It is very important to be clear about this business of Dowland and
octaves, as it is widely misunderstood/misinterpreted, and it seems
already to have entered the collective folklore in the same way as the
idea that Dowland was born in Dublin -
Sorry for sending doublons. I forgot to send to lute Net
Dear Martin
1. Dowland was writing in 1610, specifically about the issue of
whether
the 6th course should or should not be in octaves. He says nothing
about the 7th, 8th and 9th, which we can assume [for technological and
other
On Jun 20, 2007, at 5:19 PM, Martin Shepherd wrote:
[Dowland] says that the practice of using octaves (on the 6th) was
nowhere so much used as here in England, implying that the poor
backward English lutenists [perhaps endowed with inferior strings]
clung
to their old habits longer than
Dear Martin
Good to hear from you again. I am interested in your positive
comments on the KF strings, although at present I will probably stay
with gut, nevertheless on a rainy day, as you say, a good alternative
could be very useful.
How well might these KF strings work on the 6th
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