I can't answer the original question, but I do want to a respond to a
comment about MusicXML in the original post:
> MusicXML records the fret and the pitch; but not the tuning
> (its a big specification, might have missed that).
MusicXML does indeed record the tuning for tablature staves. This i
>"We are of the opinion that the earliest picture of an undeniably wire
>strung harp referred to in writing associated with the picture as an
>Irish (or Scots) harp, much later to be known as clarsach, is from
>Michael Praetorious, early 1600's.
I dont have access to Roslyn Renche
>The note B relative to A being 440 hertz did not occur in history until
>Edwardian times in the early 20th century so to call a note B earlier
>than this seems pointless.
?!?
dont see what 440 has to do with anything, this is a discussion of nominal
pitch, not actual.
are you tryin
On Tue, Dec 29, 2009 at 2:06 PM, Christopher Stetson wrote:
> Just a thought -- on the shamisen proper, twang and rattle are pretty
> much what you're going for.
It's called sawari ans is indeed what what you're going for. I quote
from my own website:
"The nut is made in such a way that the
Just a thought -- on the shamisen proper, twang and rattle are pretty
much what you're going for.
>>> Ed Durbrow 12/28/2009 10:10 AM >>>
On Dec 26, 2009, at 5:49 PM, David van Ooijen wrote:
For my shamisen I
have some silk strings - nylon too, big difference! - but
Love that, although tough to prove.
d
>The note B relative to A being 440 hertz did not occur in history until
>Edwardian times
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
A belated reply to this theme. Two B strings together on a clarsach
(knee) harp? This message comes from a friend who performs on various
instruments including this one...
"We are of the opinion that the earliest picture of an undeniably wire
strung harp referred to in writing a
On Dec 26, 2009, at 5:49 PM, David van Ooijen wrote:
For my shamisen I
have some silk strings - nylon too, big difference! - but never
tried
these on a lute.
I have.
[1]http://www9.plala.or.jp/edurbrow/shamisenstring.html
They were a bit twangy. or rattle-ly. An
I don't have a date - I'm thinking back 20 years or so. I imagine I got
the information from Anne Hayman or Bill Taylor. Anne, if I remember
her correctly, had some madcap theory to do with folk-lore, pixies,
spiritual lay lines, and god-knows what else - although may be doing
her a
>The Scots/Irish clarsach (medieval wire-string harp) of yore had the
>two central strings tuned to b, and were referred to as the 'two
>sisters'. I have a couple of theories as to why this should be. 1) one
>of them was b flat
Thanks for the mention, this is the first I have hear
The top string is a, two bottom - e. The lowest string is fingered with the
thumb, and the chords are built like: (from the bottom) e-a-c, and such. a
On Sat, 26 Dec 2009 11:48:19 -0500 (EST)
dem...@suffolk.lib.ny.us wrote:
>
> > I'm not sure I understand the question :)
>
> The problem is Mus
> I'm not sure I understand the question :)
The problem is MusicXML, which records only fret and midi-pitch for modern
tabulature.
Modern tabulature is basically french form using numerals. Guitar, banjo,
and mandolin (possibly bouzuki and modern cittern too) are published in
modern tabulature;
d the
basses far more responsive than gut basses I have used.
Best wishes,
Ron Andrico
www.mignarda.com
> Date: Sat, 26 Dec 2009 09:49:26 +0100
> To: lute@cs.dartmouth.edu
> From: davidvanooi...@gmail.com
> Subject: [LUTE] Re: Q on odd tunings for plucked instruments
On Sat, Dec 26, 2009 at 7:18 AM, David Tayler wrote:
> David--I'm sorry if I asked you this before, but can the silk koto
> strings be adapted for lute trebles?
Koto strings are too thick, I should think. Perhaps one can get a
thinner set, but that would still be too thick. It's one size fits
all
David--I'm sorry if I asked you this before, but can the silk koto
strings be adapted for lute trebles?
My baroque mandolin sounds best with silk trebles, and I wouldn't
mind trying them on the renaissance lute.
d
At 09:23 AM 12/25/2009, you wrote:
>On Fri, Dec 25, 2009 at 5:56 PM, Christopher S
On Fri, Dec 25, 2009 at 5:56 PM, Christopher Stetson wrote:
> Hi, Dana and all, and best holiday wishes.
Ideed, we should be celebrating Christmas!
> In re: David van O's speculation about Asian zithers:
A bit more about the Japanese koto, its tuning as well as notation, on
my sashimisen p
Hi, Dana and all, and best holiday wishes.
In re: David van O's speculation about Asian zithers:
I'm not an expert, but I haven't found any duplicate-string tunings for
Chinese guqin. Check at [1]www.silkqin.com if you're really
interested, though. He's got all the tunings.
The Scots/Irish clarsach (medieval wire-string harp) of yore had the
two central strings tuned to b, and were referred to as the 'two
sisters'. I have a couple of theories as to why this should be. 1) one
of them was b flat - necessary for medieval music theory and practice,
2) most
On Thu, 24 Dec 2009 13:39:52 -0500
alexander wrote:
> Ashamed to admit knowledge of this, but most of the balalaika family
> instruments tune with two unison strings (it's not a pair, or course,
> but two independent strings), starting with a-e-e for piccolo.
>
> http://www.juststrings.com/balal
Ashamed to admit knowledge of this, but most of the balalaika family
instruments tune with two unison strings (it's not a pair, or course,
but two independent strings), starting with a-e-e for piccolo.
http://www.juststrings.com/balalaika.html a.
On Thu, 24 Dec 2009 17:42:30 +
"Stewart McCo
> Besides the strummed dulcimer, ignoring octaves and sympathetic drones,
> can anyone think of an instrument which (sometimes) employs
> duplicated-pitch open courses?
Japanese Koto. I have no idea about the various other kinds (Korean,
Chinese), but can imagine it's more or less the same for th
I'm not sure I understand the question :)
But I always ignore sympathetic drones.
d
At 04:08 PM 12/23/2009, you wrote:
>Staff notation differes from tablature notation in many ways, but a
>fundamental point of difference is that ordinary staff notation specifys
>only the pitch of each note, and no
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