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
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
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
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
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
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
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
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
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
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
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...
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
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
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
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.
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
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
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
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,
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
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
.
- 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
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
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
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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
--- 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
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
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