Monica Hall wrote:
Recently I was able to borrow a cittern for a few months and the
advantages of a re-entrant tuning were immediatly obvious as soon as I began
to play (rather badly) with a plectrum.
If you are strumming chords it doesn't matter if the lowest sounding
course is in the middle
Do you think that the Spanish tuning with a bourdon and upper octave in
the
4th course [gg'-c'c'-e'e'-a'(a')] is an early form of semi-re-entrant
tuning? Or, is it more like an analogue to the upper octave strings in the
lute's bass courses? Would it depend on whether the bourdon is on the
Monica Hall wrote:
Recently I was able to borrow a cittern for a few months and the advantages
of a re-entrant tuning were immediatly obvious as soon as I began to play
(rather badly) with a plectrum.
If you are strumming chords it doesn't matter if the lowest sounding course
is in the
As an example of campanela playing (without plectrum) look at:
http://www.youtube.com/watch?v=kfJ_rHp8Uas
Be sure to be well seated
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As I understand it, there is a lot going on in Turkish music these days, a
bit like in Flamenco. I saw this player live in Amsterdam, together with a
(youth) stringorchestra. In a 'new' sort of pastiche 'baglama-concerto'.
(It's a baglama, not really a saz) He is amazing. I think he uses a
*Wow*...that is thoroughly gobsmacking. I love the way he strums with
his m a fingers - very interesting!
Well found Lex!
Best Benjamin
On 15/10/06, Stuart Walsh [EMAIL PROTECTED] wrote:
Lex Eisenhardt wrote:
As an example of campanela playing (without plectrum) look at:
If you are strumming chords it doesn't matter if the lowest sounding
course is in the middle but having treble strings outermost makes the
playing of a single melodic line with up and down strokes of the plectum
much easier and cleaner.
That is an interesting thought.
If we compare to the
Dear Monica
As I understand this CS2 is from the late 17th c. It is hard to tell if -and
how- the mutual influence from cittern and guitar has worked out. It
certainly could be a subject where we guitarists could learn some.
I wanted to ask you if you played your wire string guitar with a
Lex,
Many years ago I made a battente for a customer (from Italy - talk about
coals to Newcastle) and recall having problems with getting 'authentic'
iron/steel strings (I used harpsichord wire from Thomas I recall up to pitch
(even as low as a tone below modern): the trebles kept
Martyn,
The stringlength is 67, the pitch 415. I relied on Sebastian's advice in the
choice of the strings. I hope he can give you the details of the manufacturing.
It works well, not too many stringbreaks, although tuning is certainly a bit
problematic. Sebastian made bass strings of twisted
According to Ian Harwood's book on the Rose bandora gut was often used for
the highest course on wire strung instruments because suitable wire was not
available. Apparently the instrument is strung like that now.
Monica
Subject: [VIHUELA] Re: Why re-entrant tuning?
Martyn,
The stringlength
] Re: Why re-entrant tuning?
Dear Monica
As I understand this CS2 is from the late 17th c. It is hard to tell
if -and
how- the mutual influence from cittern and guitar has worked out. It
certainly could be a subject where we guitarists could learn some.
It would be difficult to date. The
A little peripheral, but this was the case on the early Neapolitan mandolin as
well: e in gut.
Eugene
- Original Message -
From: Monica Hall [EMAIL PROTECTED]
Date: Sunday, October 15, 2006 12:30 pm
Subject: [VIHUELA] Re: Why re-entrant tuning?
According to Ian Harwood's book on the
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