[LUTE] Re: Theorbo question

2009-01-06 Thread David Tayler
G dt At 12:20 PM 1/5/2009, you wrote: Although I'm primarily interested in Ren music, I haven't been able to resist the temptation to dabble in continuo a bit (we have a continuo group in Seattle, loosely modeled on Pat's Continuo collective). I'm afraid that I might have

[LUTE] Re: Theorbo question

2009-01-06 Thread Mathias Rösel
A mr David Tayler vidan...@sbcglobal.net schrieb: G dt At 12:20 PM 1/5/2009, you wrote: Although I'm primarily interested in Ren music, I haven't been able to resist the temptation to dabble in continuo a bit (we have a continuo group in Seattle, loosely modeled on

[LUTE] Re: Theorbo question

2009-01-06 Thread Rob MacKillop
G#! A buddhist would take the middle path... Rob 2009/1/6 Mathias Roesel [1]mathias.roe...@t-online.de A mr David Tayler [2]vidan...@sbcglobal.net schrieb: G -- References 1. mailto:mathias.roe...@t-online.de 2. mailto:vidan...@sbcglobal.net

[LUTE] Re: Theorbo question

2009-01-06 Thread Benjamin Stehr
When i got my theorbo i also first tuned it to G for two month and later wished i would have started in A straight away for the following reasons: - Playing together with other people when tablature part for theorbo is written out - Theorbo feels like a completely different instrument anyway (use

[LUTE] Re: Theorbo question

2009-01-06 Thread Mathias Rösel
Rob MacKillop luteplay...@googlemail.com schrieb: G#! A buddhist would take the middle path... But, you know, the middle path between A and G is D! So that's how it came into being! ;) -- Best, Mathias 2009/1/6 Mathias Roesel [1]mathias.roe...@t-online.de

[LUTE] Re: Theorbo question

2009-01-06 Thread Eugene C. Braig IV
Huh? ecb -Original Message- From: Rob MacKillop [mailto:luteplay...@googlemail.com] Sent: Tuesday, January 06, 2009 8:26 AM To: Mathias Rösel Cc: lute-cs.dartmouth.edu Subject: [LUTE] Re: Theorbo question G#! A buddhist would take the middle path... Rob

[LUTE] Re: Theorbo question

2009-01-06 Thread David Tayler
Arto makes a good point about E Major Vivaldi. But in, for example, in the Four Seasons, you have E Major and then the other three are F minor, G minor, F major, all of which are far better in G. And so it goes! Looking down the road, you want to be in a position where you are playing good

[LUTE] Re: Theorbo question

2009-01-06 Thread chriswilke
Don't matter. cw --- Mathias Rösel mathias.roe...@t-online.de wrote: A mr David Tayler vidan...@sbcglobal.net schrieb: G dt At 12:20 PM 1/5/2009, you wrote: Although I'm primarily interested in Ren music, I haven't been able to resist the temptation to

[LUTE] Re: Theorbo question

2009-01-05 Thread William Brohinsky
Guy, If you have any guitar experience, you already know the chords. From the second string (E) down to the A string, you have the top five strings of the guitar (albeit reentrantly tuned because the top E is an octave lower.) The next four strings represent the diatonic scale from the guitar's

[LUTE] Re: Theorbo question

2009-01-05 Thread Roland Hayes
I say start relearning. And start enjoying D major and minor and A major and minor as easy chords/tonic home bases. Also, it's good to get used to playing g minor on the theorbo as there is plenty of it (even Caccini and Peri on an A instrument). I think also it's more of an adjustment to use

[LUTE] Re: Theorbo question

2009-01-05 Thread howard posner
On Jan 5, 2009, at 12:20 PM, Guy Smith wrote: I'm afraid that I might have finally taken complete leave of my senses, as I am now in possession of one of those overly large lutes with too many strings (on loan, but...). How long is it? If that's not too personal a question...

[LUTE] Re: Theorbo question

2009-01-05 Thread wikla
On 1/5/2009, howard posner howardpos...@ca.rr.com wrote: If you're doing Vivaldi in E major, A tuning makes life easier. And it will still be difficult! ;-) Arto PS I recommend theorbo in A; many more manageable keys than in G. But some that are easy in G are horrible in A! The more flats

[LUTE] Re: Theorbo question

2009-01-05 Thread Guy Smith
of the loan that don't bear going into here). Thanks, Guy -Original Message- From: howard posner [mailto:howardpos...@ca.rr.com] Sent: Monday, January 05, 2009 12:37 PM To: lute-cs.dartmouth.edu List Subject: [LUTE] Re: Theorbo question On Jan 5, 2009, at 12:20 PM, Guy Smith wrote: I'm

[LUTE] Re: Theorbo question

2009-01-05 Thread David Rastall
On Jan 5, 2009, at 3:20 PM, Guy Smith wrote: I plan to seek professional assistance soon, but in the interim, a tuning question. The instrument is currently in A. I could retune it to G, so I could more easily transfer my experience with the G lute, or I could leave it in A and

[LUTE] Re: Theorbo Question

2008-01-29 Thread Martyn Hodgson
Mace, Wilson MH David Rastall [EMAIL PROTECTED] wrote: If the solo theorbo, being by definition an instrument of shorter playing length, is known to have been tuned with only the first course in re-entrant tuning, presumably there was some amount of solo repertoire for that tuning.

[LUTE] Re: Theorbo Question

2008-01-28 Thread David Tayler
As far as reentrant goes, a notch away in size is also a notch in pitch, so a size smaller can be tuned in double reentrant a tone higher. So that is really not an issue. I use double for most solo pieces, but some sound persuasive in single. My solo instrument at 465 in A is too high for

[LUTE] Re: theorbo question

2006-09-14 Thread Rob Dorsey
David, The body of the lute/theorbo - particularly the t'bo - affects the sound profile immensely. By body shape we actually mean the shape and volume of the air cavity within the body and how its volume and distribution affect the propagation of the vibrations of the sound board. Likewise, the

[LUTE] Re: theorbo question

2006-09-14 Thread Arthur Ness
Chris sent this additional information. === Dear Arthur Tempus fugit indeed! Boethius/Severinus facsimiles are now sold by Jacks, Pipes and Hammers - you can see their ad in LSAQ - e.g. on p. 10 of the February 2006 number all the best Chris Goodwin

[LUTE] Re: theorbo question

2006-09-13 Thread LGS-Europe
Dear David question is: which is more important to the production of a full, substantial theorbo sound...long playing length, or a large body? Or is it a combination of both? For theorbos it's simple: bigger is better. Big body, long stopped strings, long diapassons. You want to have big,

[LUTE] Re: theorbo question

2006-09-13 Thread dc
LGS-Europe écrit: For a good general introduction to theorbo playing turn to Kevin Mason's The Chitarrone and its repertoire in early seventeenth-century Italy (Boethius 1989) Hello David, This sounds very interesting, but it seems to be out of print. Does anyone know where one could find a

[LUTE] Re: theorbo question

2006-09-13 Thread JCetra
Dear David and All: I would say a larger body is more important, because it takes a critical mass of top area to reproduce that bass note, sort of like a bass drum. That is one reason why many archlutes are deficient in the bass register, in my opinion. A luthier once showed me an archlute

[LUTE] Re: theorbo question

2006-09-13 Thread Arthur Ness
. - Original Message - From: dc [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Wednesday, September 13, 2006 6:46 AM Subject: [LUTE] Re: theorbo question LGS-Europe écrit: For a good general introduction to theorbo playing turn to Kevin Mason's The Chitarrone and its repertoire in early

[LUTE] Re: theorbo question

2006-09-13 Thread chriswilke
David, I have to disagree with the prevailing opinion somewhat: bigger is not always better. I speak from some experience, owning both a gigantic theorbo (99cm on the board(!), diapasons around 6 1/2 feet long) and a smaller one (76cm fingerboard/119 diapasons). Nowadays I use the small one

[LUTE] Re: theorbo question

2006-09-13 Thread dc
Arthur Ness écrit: When Boethius took clerical orders, he took the name Severinus. Check Severinus Press. It's still in print: Great! Thanks, Arthur. Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo question

2006-09-13 Thread Herbert Ward
At some places, I've even learned to hold back when I use the small guy so that the sound doesn't get too annoying. Once I saw a Steinway baby grand that had a nicer bass than a larger Steinway a few feet away. Not louder, but clearer and more musical. Is this phenomenon also possible in

[LUTE] Re: theorbo question

2006-09-13 Thread chriswilke
--- Herbert Ward [EMAIL PROTECTED] wrote: At some places, I've even learned to hold back when I use the small guy so that the sound doesn't get too annoying. Once I saw a Steinway baby grand that had a nicer bass than a larger Steinway a few feet away. Not louder, but clearer and

[LUTE] Re: theorbo question

2006-09-12 Thread Jason Ferry
Just on your first question, I understand, based on conversations with various luthiers, that both are relevant in different ways. The longer stringlength allows you to use gut basses with a deeper sound, while the size of the body affects the timbre or tone of the sound. David Rastall [EMAIL