Gosh Rob
I'm sorry, but I don't remember saying anything about you at all.
Joseph
On 12/12/07 10:17 AM, Rob [EMAIL PROTECTED] wrote:
Very clever, Joseph, but I never once said that 'Weiss hints that he used
nails'. I see no evidence for that in Weiss' or my own comments.
This one
.
Gary
- Original Message -
From: Rob [EMAIL PROTECTED]
To: 'gary digman' [EMAIL PROTECTED]; 'lutelist'
lute@cs.dartmouth.edu
Sent: Monday, December 10, 2007 1:45 AM
Subject: RE: [LUTE] Re: Swanneck + loaded strings
Calluses? Sandpaper? Mimic nails? Is that a common experience? I must
: [LUTE] Re: Swanneck + loaded strings
Calluses? Sandpaper? Mimic nails? Is that a common experience? I
must say,
Gary, that I've been playing without nails for almost 20 years,
and my
finger tips are very soft and smooth. Sandpaper?! Must be my blue
blood -
never done a day's work in my
[EMAIL PROTECTED]
To: lutelist lute@cs.dartmouth.edu
Sent: Tuesday, December 11, 2007 2:46 AM
Subject: [LUTE] Re: Swanneck + loaded strings
I've been playing without nails for at least 30 years, and I play
only metal-strung instruments. I have light calluses on my right
hand, nothing like those
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:19 PM
Subject: [LUTE] Re: Swanneck + loaded strings
Perhaps OT on the lute-list either way, but I mentioned Sor and Giuliani,
not baroque guitar music. Neither did I
Weiss does mention that playing with nails is acceptable on the theorbo but not
on the lute (I don't have the exact quote to hand)
MH
LGS-Europe [EMAIL PROTECTED] wrote:
Perhaps OT on the lute-list either way, but I mentioned Sor and Giuliani,
not baroque guitar music. Neither did I
must pluck very lightly...
Rob
www.rmguitar.info
-Original Message-
From: gary digman [mailto:[EMAIL PROTECTED]
Sent: 11 December 2007 10:09
To: lutelist
Subject: [LUTE] Re: Swanneck + loaded strings
Every classical guitarist I know carries a small swatch of sandpaper in his
of her
@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 7:43 AM
Subject: [LUTE] Re: Swanneck + loaded strings
On Sunday, December 09, 2007 3:06 PM LGS-Europe[EMAIL PROTECTED]
wrote:
..
Nails/no nails have a similar effect on compositions; guitar players may
notice differences between Giuliani and Sor
-Original Message-
From: gary digman [mailto:[EMAIL PROTECTED]
Sent: 10 December 2007 09:29
To: lutelist
Subject: [LUTE] Re: Swanneck + loaded strings
I play guitar (modern and baroque) without nails. It's true that some
techniques such as tremolo become much more diffcult without nails, but my
To: lutelist
Subject: [LUTE] Re: Swanneck + loaded strings
I play guitar (modern and baroque) without nails. It's true that some
techniques such as tremolo become much more diffcult without nails, but my
tremolo was never my strong suit anyway. I just got tired of constantly
messing with nails, trying
Go for a lesson with Nigel North. The first thing that happened when
he didn't like my sound was to grab my right hand, check the finger
tips, and start sanding! He comes equipped, no doubt expecting more
of us to be blue collar lutenists than blue blood. Thank God he
doesn't travel with a
aroslaw
I don't think we are in complete disagreement, perhaps not in
disagreement at all, although our individual taste for a type of
music might be slightly different. I can't answer all the points you
make, although I would like to.
I did make a distinction between
From: Anthony Hind [EMAIL PROTECTED]
I did make a distinction between performer/composers, who compose ON the
instrument (seeking out its potential); for these, i feel, authenticity in
stringing is particularly important);
Is that a gut feeling of yours?
Having spent the last 20 years on
Jaroslav
Sorry for clipping your name, in my last message, just a few other
words.
But most of us know
what the real piano is, so we either love it or hate it. The
problem with
the lute is that we are not quite sure what it really was in past.
Then we
are left with two possibilities: 1/
Roman
Why should you? That was not my point at all. If you are composing
on any instrument, you are probably experimenting with the sounds you
can obtain with that instrument, as it is at the present moment.
You might want to search for a different tonal presentation and
change your
Thank you David, in my last message to Roman, I was quoting from
memory, what you had quoted to me from memory from Toyohiko Satoh. My
memory being not quite what it was,
I am pleased that the gist seems to be about right.
Regards
Anthony
Le 9 déc. 07 à 16:06, LGS-Europe a écrit :
On Sunday, December 09, 2007 3:06 PM LGS-Europe[EMAIL PROTECTED] wrote:
..
Nails/no nails have a similar effect on compositions; guitar players may
notice differences between Giuliani and Sor resulting from their use/no
use of nails. (Hmm, authentic Lobos on gut. ;-) )
It'll take one good
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
From: Anthony Hind [EMAIL PROTECTED]
Why should you? That was not my point at all. If you are composing
on any instrument, you are probably experimenting with the sounds you
can obtain with that instrument, as it is at the present moment.
Certainly not.
You might want to search for a different
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:19 PM
Subject: [LUTE] Re: Swanneck + loaded strings
Perhaps OT on the lute-list either way, but I mentioned Sor and Giuliani,
not baroque guitar music.
OK, you can
- Original Message -
From: howard posner [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:07 PM
Subject: [LUTE] Re: Swanneck + loaded strings
When I met Toyohiko in 1982, he was using nylon trebles that he
twisted (with a small manual drill
Anthony,
No, no, obviously this is not a disagreement. I never said I like
plastic or that it doesn't matter what strings we use. It's just that I have
a little bit an adventurous spirit and I take nothing for granted. I have to
be convinced by experience. So in this case the only thing I
Le 9 déc. 07 à 17:19, LGS-Europe a écrit :
I wrote:
Back to lute music: Anthony stated that he feels closer to a gut
player/composer who wrote his music on his gut-strung lute, if I
may be so free as to summarize his undoubtedly lengthy arguments so
boldy. I sympathise with that
Jaroslaw
Le 9 déc. 07 à 19:08, Jarosław Lipski a écrit :
Anthony,
No, no, obviously this is not a disagreement. I never said I like
plastic or that it doesn't matter what strings we use. It's just
that I have
a little bit an adventurous spirit and I take nothing for granted.
, but this I
believe can be
overcome with the proper playing technique.
Regards
Jaroslaw
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Thursday, December 06, 2007 1:04 PM
To: [EMAIL PROTECTED]
Subject: [BAROQUE-LUTE] Rép : [LUTE] Re: Swanneck + loaded strings
I
Anthony,
When we think about authenticity we have to ask ourselves what is the reason
we want to be authentic. I can not say for anybody else, but for me the
reason is quite simple. If one day I decide to study piano after hearing
fantastic performance on this instrument I will probably trust
, December 06, 2007 1:04 PM
To: baroque-lute@cs.dartmouth.edu
Subject: [BAROQUE-LUTE] Rép : [LUTE] Re: Swanneck + loaded strings
I just remembered that this should have been addressed to Baroque
lute, sorry about that
AH
Le 2 dec. 07 =E0 18:29, Daniel Winheld a ecrit :
Looking forward
Le 6 déc. 07 à 21:22, Daniel Winheld a écrit :
Anthony, I read Mimmo's text carefully twice; (halfheimers, the
brain glass is still half full) so I remember the different nuances
of the different string specs applications- no false impressions
created.
Dan, I am sure many people did, but
Le 2 dec. 07 =E0 18:29, Daniel Winheld a ecrit :
Looking forward to these strings. Thanks for the report. Dan
Dan
Following my message to you about loaded strings in the context of
the problem of controlling the resonance of the basses on 13c swan-
necks, it suddenly dawned on me
I just remembered that this should have been addressed to Baroque
lute, sorry about that
AH
Le 2 dec. 07 =E0 18:29, Daniel Winheld a ecrit :
Looking forward to these strings. Thanks for the report. Dan
Dan
Following my message to you about loaded strings in the context of
the
On Sunday 02 December 2007 18:33, Daniel Winheld rattled on the keyboard:
One thing I haven't seen anyone address re the swanneck- fingered
accidentals on courses 9 - 11. How are you folks dealing with these
situations? Up an octave, or eliminate those pieces from your
repertoire? Dan
I have
Am 2 Dec 2007 um 16:07 hat Edward Martin geschrieben:
that is, it does
take a different approach with the right hand in learning how to use gut
appropriately beautifully.
And that would be?
Thanks and regards,
Stephan
Down to only 4 instruments? Too bad
ed
At
Hello, Stephan. It is difficult to explain in a few words with out holding
the lute demonstrating the manner I have found that works. Particularly
the lower or deeper basses need to be played fast; that is, when playing
through the fundamental and octave together, if one plays those 2
I agree with Ed. a friend has been playing my gut strung lute, on and
off for a year.
At first he couldn't come to terms with the gut basses, now he is
seriously thinking of adopting them himself. He has realised that at
least some gut actually opens uo the sound of the lute, and makes it
On Dec 2, 2007, at 4:40 AM, Nigel Solomon wrote:
Admitedly I was using wound strings (has anybody ever tried
keeping 24 gut strings in tune successfully
for the time needed to play a single Weiss courante?).
That is what I find interesting though. Long gut strings seem to be
much
Daniel Shoskes wrote:
On Dec 2, 2007, at 4:40 AM, Nigel Solomon wrote:
Admitedly I was using wound strings (has anybody ever tried
keeping 24 gut strings in tune successfully
for the time needed to play a single Weiss courante?).
That is what I find interesting though. Long gut
Yes, Nigel, I do it all the time. In fact, I had a concert in humid August
this year, in which I performed on a Scottich mandour, an 11 course, and a
13 course bass rider lute. All are in gut (that is all I have had for
baroque lutes for the past 12 years), and I did not have to adjust one
Why not stringing it all in gut?
ed
At 08:36 AM 12/2/2007 -0500, Daniel Shoskes wrote:
That is what I find interesting though. Long gut strings seem to be
much more stable in terms of keeping in tune (and getting them
there). I like the idea of long guts in the basses of a Jauch and
then nylgut
Edward Martin wrote:
Yes, Nigel, I do it all the time. In fact, I had a concert in humid
August this year, in which I performed on a Scottich mandour, an 11
course, and a 13 course bass rider lute. All are in gut (that is all
I have had for baroque lutes for the past 12 years), and I did
Ed, as you know I have gone through phases of experimentation with
gut on my barqoue lutes. Even though we both live in cold climes, I
have not been successful keeping gut easily in tune, at least not on
my bass rider. With my limited time to practice, it is simply not
possible to spend a
Nigel
According to Mimmo Peruffo, his new loaded strings would be more
stable to temperature and humidity influences even than synthetics.
I imagine this could be due to the loading by a sort of tanning
process. Perhaps the oxide? covering protects the string.
A lutist neighbour of mine
Thanks for the note, Danny.
I am not one to criticize synthetic strings, as I use them too on my Venere
renaissance lute (for the time being). I think it is great that we have
choices. Somne of the best recordings of lute music have been recorded in
synthetic strings. For me, I sound best
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