Stewart,
Thank you, I'm going to have to print your fine letter in order to keep
track of the terminology.
You are right, I was confused in my assumption. But I won't say I'm fully
with the musical logic.
> Yes, I think you still haven't grasped the fundamental point about
> the tuning of theorbo
t course (to G below middle C), you have a theorbo.
>>
>> I hope that helps. If you still have a copy of my message "Double
>> 1st (HIP message included)" on 7th January, do have another look at
>> it, and see if you understand it differently now.
>>
>>
Dear Philippe,
> The word "theorbe" is a strange word in french however, and I never read a
> satisfying etymology of it. Italian readers here can maybe help with a
> meaning to give to the word "tiorba". Has it something to do with the idea
> of "re-entrant" tuning ?
Jakob Lindberg told me a fu
se (to G below middle C), you have a theorbo.
>>
>> I hope that helps. If you still have a copy of my message "Double
>> 1st (HIP message included)" on 7th January, do have another look at
>> it, and see if you understand it differently now.
>>
>> Best wis
ow.
>
> Best wishes,
>
> Stewart.
>
>
> - Original Message -
> From: "Jon Murphy" <[EMAIL PROTECTED]>
> To: "Stewart McCoy" <[EMAIL PROTECTED]>;
> <[EMAIL PROTECTED]>
> Cc: "Lute Net" <[EMAIL PROTECTED]>
&
Thank-you Stewart,
This has been the most en-lightening description of the theorbo I have ever
seen.
Only, one thing still puzzles me...
One of the American girls on the list (is it Caroline Usher?) always ends
her messages with a 'bumper-sticker' which reads, "I brake for theorboes"
If it is
t.
- Original Message -
From: <[EMAIL PROTECTED]>
To: "Stewart McCoy" <[EMAIL PROTECTED]>
Cc: "Lute Net" <[EMAIL PROTECTED]>
Sent: Thursday, January 08, 2004 10:30 AM
Subject: Re: Double 1st (HIP message included)
-
" <[EMAIL PROTECTED]>
Cc: "Lute Net" <[EMAIL PROTECTED]>
Sent: Thursday, January 08, 2004 5:30 AM
Subject: Re: Double 1st (HIP message included)
Stewart,
Yes, as I said, if a theorbo is tuned to a nominal pitch significantly
lower than it's size would normally warrant
be very attractive - but it is a different
matter with a melody at the top of the texture.
I would very much like the chance to experiment with Damiani's
tuning, because ultimately the proof of this particular pudding may
have to be in the eating, if it's the only proof we've got. :-
Plse read my earlier replies carefully.
Howard Posner
<[EMAIL PROTECTED]To:
> we've
> tuned it an octave lower than it should be." In effect (without
> realising it) they had re-invented the theorbo.
>
This is more or less what I did on my 64cm archlute this week. I was
restringing it, completely in gut, but was not looking forward to having my
first string broken all of
martyn hodgson writes:
> You misunderstand the point: for larger theorboes, ie those that would
> normally be required to lower the 2nd an octave as well as the first, the
> physics doesn't work.
I understood you perfectly the first time. I just don't agree. Neither do
you, when it comes down
ni's
> tuning, because ultimately the proof of this particular pudding may
> have to be in the eating, if it's the only proof we've got. :-)
>
> Best wishes,
>
> Stewart.
>
>
>
>
>
>
>
>
> ----- Original Message -
> From: &
s tuned
in octaves; the unisonists argue that this is over-fussy, and that
these strange shifts are an integral part of the instrument's style.
You pays your money and takes your choice. :-)
All the best,
Stewart.
- Original Message -----
From: <[EMAIL PROTECTED]>
To: "M
You misunderstand the point: for larger theorboes, ie those that would
normally be required to lower the 2nd an octave as well as the first, the
physics doesn't work. Of course, for smaller theorboes (say, less than
around 80cm) only the first would normally be required to be lowered (as
the Old
With apologies for not having read the entire thread, and for my lack of
knowledge of the specifics of the main courses of a theorbo, may I say that
the "maximum breaking stress" of strings is fixed at a pitch, but that is a
pitch for each length. There is no way I could find a resonating string to
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
> it is a chimera.
> Other than wishful thinking, there is no evidence for use of a theorbo
> second course strung in octaves; indeed, since the stress of a higher
> octave second would exceed the maximum breaking stress, it is highly
> unlikely.
The
Stewart,
This matter was discussed at length a year or so ago: it is a chimera.
Other than wishful thinking, there is no evidence for use of a theorbo
second course strung in octaves; indeed, since the stress of a higher
octave second would exceed the maximum breaking stress, it is highly
unlike
> - Original Message -
> From: "David Rastall" <[EMAIL PROTECTED]>
> To: "Martin Shepherd" <[EMAIL PROTECTED]>
> Cc: <[EMAIL PROTECTED]>
> Sent: Monday, January 05, 2004 1:29 PM
> Subject: Re: Double 1st (HIP message included)
&
TED]>
Sent: Monday, January 05, 2004 6:00 PM
Subject: Re: Double 1st (HIP message included)
> Hi Vance,
>
> Nylon frets, eh? That's downright heretical!
>
> To answer your question, I always think I'm going to get flamed when I
> disagreee with lute players on
On Monday, January 5, 2004, at 04:58 PM, Thomas Schall wrote:
> It's okay to feel free from historic forces but it's okay for me to
> rely on the secure guidance of the historic.
Certainly, for us as lutenists history points the way. I agree with
you about the "secure guidance" of history. It
c: <[EMAIL PROTECTED]>
Sent: Monday, January 05, 2004 1:29 PM
Subject: Re: Double 1st (HIP message included)
> On Sunday, January 4, 2004, at 02:47 PM, Martin Shepherd wrote:
>
> > ...we should not ignore the evidence just because it suits our
> > prejudices.
>
> I
I would support your point in general - just an addendum:
It's somehow like a relation between pupil and teacher: We need the
teacher to learn the basics, technique and - yes! to get a feeling for
the music but at a certain point in the education we also need to
emanzipate ourselfs from our teache
On Sunday, January 4, 2004, at 02:47 PM, Martin Shepherd wrote:
> ...we should not ignore the evidence just because it suits our
> prejudices.
I am quite willing to ignore it if it fails to suit my needs! If gut
strings sound too dull and heavy in the bass, or fail to stay in tune
because of
- Original Message -
From: Stewart McCoy <[EMAIL PROTECTED]>
To: Lute Net <[EMAIL PROTECTED]>
Sent: 05 January 2004 16:24
Subject: Double 1st
> Dear Sterling,
>
> There seems to have been considerable variety in instruments known
> as theorboes. Single or double strings on the fingerbo
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