On Sun, Feb 15, 2009, Sean Smith lutesm...@mac.com said:
Dana, I had wondered about drift
drift is more an issue of who chooses to adjust when; and to what
challenge. I recall one easter piece, maybe by aligheri? The opening
staggers entrances from each of, mmm, maybe seven parts, at
We use meantone in our ensemble for the singers and instrumentalists,
for 17th century music, and I have a series of exercises to quickly
get everyone locked in.
Concerto Palatino plays exclusively in meantone with singers and
instrumentalists--they are the best I have heard at it.
Loekie
On the subject of lutenists accommodating (or not) singers:
Is there any evidence of what temperament the lutenist and singer -
I'm thinking mainly of late 16th c lute songs - would have agreed on?
Would the lutenist tune to get close to the temperament the singer
had trained to sing in
On Feb 15, 2009, at 7:51 AM, Lex van Sante wrote:
Hi all!
Andrew wrote:
On the subject of lutenists accommodating (or not) singers:
Is there any evidence of what temperament the lutenist and
singer - I'm
thinking mainly of late 16th c lute songs - would have agreed
on?
On Feb 15, 2009, at 3:22 AM, Andrew Gibbs wrote:
Is there any evidence of what temperament the lutenist and singer -
I'm thinking mainly of late 16th c lute songs - would have agreed
on? Would the lutenist tune to get close to the temperament the
singer had trained to sing in (just
On Sun, Feb 15, 2009 at 6:55 PM, howard posner howardpos...@ca.rr.com wrote:
Temperament is mostly the concern of musicians who play fixed-pitch
instruments. A singer doesn't have to worry about it, because the
singer can adjust as needed. Temperament is just a poor substitute
for what a
On Sat, Feb 14, 2009, William Brohinsky tiorbin...@gmail.com said:
Caroline merely needs to declare the local pitch standard to be A=494.
Now, her (previously A=440) lute is in G, and she can satisfy her
vocalist's request without having to change her lute at all!
?!? no change to the lute
As said here before: with good musicians there's no need to
discuss anything, with the bad ones there's no use.
David
Does that mean that we are neither? :)
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
This is a point I'd like to understand better, too. Learning to fret
one's instrument and be (nominally) in tune w/ other instruments forces
us to confront meantone and understand it to some degree. If we always
play on our own or only with other ET instruments we don't have to.
When two
On Sun, Feb 15, 2009, Sean Smith lutesm...@mac.com said:
Singers aren't so forced or so, ahem, 'nerdy' and often won't know what
meantone we use.
it varies, many of us dont have a clue as to much of much theory; but we
all have ears, and some of us use them, both in play and with voice.
On Sun, Feb 15, 2009 at 10:09 PM, Sean Smith lutesm...@mac.com wrote:
From your professional experiences, do choral directers ever explicitly
choose a specific meantone scale? Do you ever get instructions to (not)
temper your frets?
I'm a pro and get hired as such: gun for hire. Sometimes
Thank you, Dana and David. I figured your experiences would be all over
the map and dictated by the conductors' whims but was also interested
in the politics of the decision. Interesting also to see that a 1/4
meantone is ocassionally used. I would hope so whenever natural horns
have a
The sizes (and therefore pitches) of lutes around 1600 is still a
matter of debate. VERY briefly: Wirth ( 2005) and Nurse (1986) looked
at surviving Venetian and Paduan lutes and on this evidence proposed an
average string length of around 66/67cm for a G lute which would
suggest
Clearly all this is subject to considerations of local pitch
standards
and national preferences...
There you go. Proclaim A to be 392 (or 377) for the south eastern
seaboard of the US and treat yourself to the nice new larger lute you
so royally deserve. The
If you tune some of the notes to 415 and some to 370 and some to 465
you can get baroque tuning.
dt
At 02:33 AM 2/14/2009, you wrote:
Clearly all this is subject to considerations of local pitch standards
and national preferences...
There you go. Proclaim A to be
On Sat, Feb 14, 2009 at 11:44 AM, David Tayler vidan...@sbcglobal.net wrote:
If you tune some of the notes to 415 and some to 370 and some to 465
you can get baroque tuning.
ROTFLOL!
Actually, this is what I do on my bass lute. No change of strings
needed, who cares about well-balanced string
Subject: [LUTE] Re: Transposed Dowland songs - ruminations on lute
sizes around 1600
To: Lute Net lute@cs.dartmouth.edu
Date: Saturday, 14 February, 2009, 10:33 AM
Clearly all this is subject to considerations of local pitch standards
and national preferences
[somenotes a=415, others...]
actually, mixed tuning is not such an odd idea - harpists sometimes tune
part of the harp with accidentals the rest normal and switch octaves to
change keys.
--
Dana Emery
To get on or off this list see list information at
not require the pedantic adjective
'historic'
as in historic local pitch..
MH
--- On Sat, 14/2/09, Sean Smith lutesm...@mac.com wrote:
From: Sean Smith lutesm...@mac.com
Subject: [LUTE] Re: Transposed Dowland songs - ruminations on lute
sizes around 1600
and
national preferences did not require the pedantic adjective
'historic'
as in historic local pitch..
MH
--- On Sat, 14/2/09, Sean Smith lutesm...@mac.com wrote:
From: Sean Smith lutesm...@mac.com
Subject: [LUTE] Re: Transposed Dowland songs - ruminations on lute
sizes
On Sat, Feb 14, 2009 at 5:08 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Clearly all this is subject to considerations of local pitch standards
and national preferences...
Oddly, no one seems to have settled on the most obvious solution:
Caroline merely needs
*sigh*. Correction: At A=494, a G lute (at previous A=440) is now in F.
On Sat, Feb 14, 2009 at 6:48 PM, William Brohinsky tiorbin...@gmail.com wrote:
On Sat, Feb 14, 2009 at 5:08 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Clearly all this is subject to considerations of local
Dowland transposed all the time--except he put the music into a MORE
difficult key.
dt
At 02:00 PM 2/14/2009, you wrote:
Hi all,
I think Dowland himself would not have objected to transposing a lute
song to suit the tessitura of a particular singer.
Most of his songs can quite comfortably be
Tune the lute down to English consort pitch (a-392, the whole step below
a=440). A very nice sound, really!
On the other hand, Time stands still plays quite well in F, with F 7th
course. Come ... not as well.
alexander
A singer has asked me to accompany her on Come heavy sleep and Time
I routinely play lute songs down a whole step and that is normally
the best transposition.
If reading it down a step is daunting, just download the Fronimo
file from Sarge's website and have the computer do a rough
transposition. You will have to clean up some of the voice leading.
I also keep
On Fri, Feb 13, 2009, Caroline Usher c...@duke.edu said:
I could tune down to 415 but I'm not sure she'll go for that.
so long as it holds for the whole program and doesnt delay things, why
not?
Best if you restring so the instrument is still lively.
--
Dana Emery
To get on or off
Read the notation as if you were playing in the original key on an A
lute. Any experience reading guitar notation (except for the 2 staff
actual octave pitch) one simply pretends to be back on the guitar,
but with an additional high a string. Of course A tuned theorbists
would also find this
Rebutting myself here, any new mind tricks for a new situation (good
practice at home) can go right out the window once you're actually
doing stuff live in concert; if you have the time written out
transcriptions in any format that you can read/play in your sleep is
going to be far preferable
I could tune down to 415 but I'm not sure she'll go for that.
If your string tension is not too light, down a half step often
works. Depending on other factors, of course, the lute may sound even
better. Down a whole step could be disaster without a whole
re-stringing job, and we do not
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