Dear Chris,
Thank you so much for your posting which is very helpful for me as a
beginner. I got some tablature music for baroque guitar by Gaspar Sanz
from Rob MacKillop, stringed an old guitar with 5 strings of re-entrant
tuning (simply with guitar strings) and realized that some of the
pieces really sounded beautiful, but some quite odd with melody
lines suddenly jumping an octave up or down. So I suspected that these
were not written for re-entrant tuning, or only the upper string being
re-entrant, but to take it like this seems also not convincing either.
No idea what that means.
Warm regards
Franz
__________________________________________________________________
Von: lute-...@cs.dartmouth.edu im Auftrag von Chris Despopoulos
Gesendet: Do 03.02.2011 08:48
An: Harlan Glotzer; Monica Hall
Cc: Vihuelalist
Betreff: [VIHUELA] Re: Baroque guitar, where to start?
Well, I think that's the big issue. There's a storm of controversy
swirling around this very question, if I have followed the mailing
list
correctly.
Gaspar Sanz has hinted rather strongly (in my opinion) that he
prefers
a full re-entrant stringing. A year ago, when I started on the
instrument I went through exactly this problem. It was all the more
difficult for me because I had played many Sanz pieces on the modern
guitar -- it's downright wierd to get used to the lowest string in
the
middle of the instrument. But after heated rounds of messages, I
gave
up all thoughts of trying to selectively play the treble or bass
string
of the 4th and 5th courses (even that is controversial, and there
are
people who do this -- you must hear their results for yourself) --
for
me it's too difficult to do it convincingly. So to prove to myself,
I
recorded some Sanz pieces with fully re-entrant stringing.. The
results
are on my site ([1][1]http://cudspan.net/baroque/) and rough as they
are
they convinced me to carry on that way. I've done so with Sanz for
about a year now. In my experience there are *very few* if any Sanz
pieces that don't work. For his first fugue I find it helps to add
the
higher G on a few phrases. I'd say that's the most problematic
piece
I've encountered in his work. Indeed, with bordones on 4th and 5th
it
sounds very rich. But to my ears there are many of his pieces that
sound horrible with either of the bordones. (How jaded we
become...)
I also got the Libro de Diferentes Cifras (m/811, 1705), edited by
Francisco Alfonso Valdivia -- Monica is credited as a collaborator
(sounds subversive). I have found that very many of those pieces
also
work with fully re-entrant stringing. The campanelas in the
Paracumbres, for example, would be unthinkable to me with bordones.
On
the other hand, the second-to-last variation is redundant without
bordones. Not a problem, but questionable. The book seems to be a
catalog rather than a singular obra, so I doubt it can answer your
question.
I'm branching out to Roncalli, as the thread indicates. So far so
good, but I have to get the manuscript. So far I just have a free
PDF
that has the tablature flipped around (not sure why...). For the
Sonate en Ottavo Tuono I see no problems whatsoever with full
re-entrance... Assuming the PDF is faithful. In fact, it seems to
beg
for fully re-entrant tuning... The Preludio rings out wonderfully,
the
chords in the Alamanda and Corrente are light.
My understanding (from Sanz, anyway) is that yes, those wacky
Italians
liked full re-entrance -- at least at the time that Sanz published
his
book. I glean from the history I've read that fashion was important
and capricious, and I can only assume this was yet-another fashion.
How did it start, why, etc. are all questions I certainly can't
answer. Again, see the archives of this list, look to existing
publications... Monica is recognized in this very field.
My personal hypothesis is that the 6-string guitar would not have
developed without the benefit of bordones. Indeed, the 6-course
guitar
(double-strung) seems to have a short life in the period, and gives
way
to single courses very quickly. I beg forgiveness and correction if
I'm wrong on that. In my opinion, there's no logical reason to have
a
fully re-entrant 6-course guitar. You end up repeating a note on
one
course or the other. That hints to me that for as long as there was
5-course writing going on, re-entrance was a subcurrent that was
either
acknowledged (expressly or tacitly) or expressly denied (I think
Guerau
insisted on bordones, didn't he? And as Monica pointed out, wasn't
it
Corbetta who wrote for the English, aka English tuning?). But I
can't
say that gives you a trajectory -- later works wanting bordones and
earlier works not. I just don't think that follows.
But again, my *experience* is limited at present to the above
mentioned
works. I'm just an amateur here. It's all great fun, and I hope
you
take it in that way!
cud
__________________________________________________________________
From: Harlan Glotzer <hargloresea...@gmail.com>
To: Monica Hall <mjlh...@tiscali.co.uk>
Cc: Chris Despopoulos <despopoulos_chr...@yahoo.com>; Vihuelalist
<vihuela@cs.dartmouth.edu>
Sent: Wed, February 2, 2011 9:01:12 PM
Subject: [VIHUELA] Re: Baroque guitar, where to start?
Again forgive my newness, but this sparks an interesting question
for
me. Is there a list of composers who had the fully reenterant tuning
in
mind/played that way? I'm understanding now it was a largely
Italian
choice, but what pieces/composers/players should I look to with this
tuning?
Thanks!!! :)
Harlan
On Feb 1, 2011, at 1:54 AM, "Monica Hall" <[2]mjlh...@tiscali.co.uk>
wrote:
> That's it. do what you think works best. You have my blessing...
>
> Monica
>
> ----- Original Message ----- From: "Chris Despopoulos"
<[3]despopoulos_chr...@yahoo.com>
> To: "Monica Hall" <[4]mjlh...@tiscali.co.uk>
> Cc: "Vihuelalist" <[5]vihuela@cs.dartmouth.edu>
> Sent: Tuesday, February 01, 2011 8:37 AM
> Subject: [VIHUELA] Re: Baroque guitar, where to start?
>
>
>> I definitely don't want to spark anything. I'm just looking for
any
>> obvious prohibitions to using a fully re-entrant tuning with
Roncalli.
>> For me, first indications are good. But I'm fairly unwashed...
I
take
>> your statement that he says nothing, to mean that I should go
with
what
>> feels good. That makes me feel young again!
>> cud
>>
__________________________________________________________________
>> From: Monica Hall <[6]mjlh...@tiscali.co.uk>
>> To: Chris Despopoulos <[7]despopoulos_chr...@yahoo.com>
>> Cc: Vihuelalist <[8]vihuela@cs.dartmouth.edu>
>> Sent: Tue, February 1, 2011 3:25:16 AM
>> Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
>> Funny that it shouldn't have reached you before. I agree that
the
>> re-entrant tuning works perfectly for most of the repertoire.
It
is a
>> misconception that the re-entrant tuning is somehow inadequate.
>> As for Roncalli - as has already been pointed out he doesn't say
>> anything at all on the subject. And as I have already said
before
I
>> prefer the versions I have heard without a bordon on the 5th
course.
>> I think that the re-entrant tuning was probably the most widely
used in
>> Italy.
>> But perhaps it is better not to spark off yet another discussion
on
>> this topic. (But I have already done so).
>> Monica
>> ----- Original Message -----
>> From: [1]Chris Despopoulos
>> To: [2]Monica Hall
>> Sent: Tuesday, February 01, 2011 6:41 AM
>> Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
>> Ha! I found this in my SPAM folder for some reason.
>> I do not disagree in principle with this compromise. I tried it
out
>> for Sanz, however, and for *my* taste and for the expectations I
have
>> built up from close to a year of playing with no bordones, I
can't
get
>> a satisfactory sound for Sanz with the bordon on the 4th course.
>> That's just me.
>> Oh, and I'm spreading out to Roncalli now, and I'm pretty happy
with
>> the sound so far sin bordones. But again, that's just me. Of
course,
>> I wonder whether that's accurate, and hope to ask without
starting
a
>> row.
>> If I pick up Corbetta's La Guitarre Royale, I will of necessity
add
the
>> 4th bordon... Thanks your informed understanding of the music.
>> cud
>>
__________________________________________________________________
>> From: Monica Hall <[9]mjlh...@tiscali.co.uk>
>> To: Harlan Glotzer <[10]hargloresea...@gmail.com>
>> Cc: Vihuelalist <[11]vihuela@cs.dartmouth.edu>
>> Sent: Thu, January 20, 2011 5:37:23 PM
>> Subject: [VIHUELA] Re: Baroque guitar, where to start?
>> As far as I am concerned a bourdon on the 4th course but not on
the
5th
>> is the answer to every maiden's prayer. It is compromise, and
in
the
>> real world compromises are what work best. And I think we
should
>> re-christen it the "English" tuning because it is the tuning
Corbetta
>> intended for his La guitarre royale. He composed all the music
in
it
>> whilst he was in England and dedicated it to good King Charles
II
>> Chris probably wont agree with me....
>> Whatever you do - enjoy.
>> Monica
>> ----- Original Message ----- From: "Harlan Glotzer"
>> <[3][12]hargloresea...@gmail.com>
>> To: "Chris Despopoulos" <[4][13]despopoulos_chr...@yahoo.com>
>> Cc: "Monica Hall" <[5][14]mjlh...@tiscali.co.uk>; "Vihuelalist"
>> <[6][15]vihuela@cs.dartmouth.edu>
>> Sent: Thursday, January 20, 2011 10:11 PM
>> Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
>> Thank you both for you speedy and detailed replies!
>> I guess I am wondering what the most universally useful
stringing
would
>> be (bourdons on 4 & 5, bourdon on 4 only, no bourdons). I do
understand
>> that there is no "silver bullet" stringing that will be perfect
for
>> everything and that I will have to experiment, but since I will
be
>> first starting I think it would behoove me to not have my
stringing
>> limit the pieces I can explore. That said, I am very interested
in
the
>> works of Sanz and the no bourdons tuning. My fear is that it
would
>> limit my ability to bring my guitar out and strum chords with
people,
>> etc.
>> I wholly accept I may be overthinking this and should just pick
one
and
>> plunge in. :p
>> On Jan 20, 2011, at 1:38 PM, Chris Despopoulos
>> <[7][16]despopoulos_chr...@yahoo.com> wrote:
>> > Well said, Monica. There's no doubt that it's easy to change
the
>> > stringing, and many, if not most, contemporary baroque
guitarists do
>> > just that. It has no effect one way or the other on the
>> construction
>> > of the instrument, indeed.
>> > I just wanted to point out that there's no intrinsic limit to
the
>> > musicality you can pull out of the instrument if you do opt
for
a
>> full
>> > re-entrant tuning. In the process I thought I'd try for a
little
>> > levity (as opposed to gravity) -- well, I can't vouch for any
>> success
>> > on that front. And of course, I botched up the history...
Thanks
>> for
>> > the clarification.
>> > cud
>> >
__________________________________________________________________
>> >
>> > From: Monica Hall <[8][17]mjlh...@tiscali.co.uk>
>> > To: Chris Despopoulos <[9][18]despopoulos_chr...@yahoo.com>
>> > Cc: Vihuelalist <[10][19]vihuela@cs.dartmouth.edu>
>> > Sent: Thu, January 20, 2011 3:51:30 PM
>> > Subject: Re: [VIHUELA] Re: Baroque guitar, where to start?
>> > Well - it is a serious mis-nomer to call the re-entrant
tuning
>> > "Spanish".
>> > The Spanish would turn in their graves.
>> > What dear old Sanz says is
>> > In stringing there is variety, because in Rome musicians
string
the
>> > guitar only with thin strings, without a bourdon on either
the
>> fourth
>> > or fifth course. In Spain the opposite is the case since
some
use
>> two
>> > bourdons on the fourth course and another two on the fifth
and
at
>> > least, as is usual, one on each course.
>> > In other words in Spain stringing with octaves on the 4th and
5th
>> > course is the norm. It is in Italy, and other places that
the
>> > re-entrant tuning is more common. Amat and Ribayaz also
describe
>> the
>> > tuning with octaves on the 4th and 5th courses and Guerau
also
>> implies
>> > that this is the method suitable for his music. Santiago de
Murcia
>> > keeps his own counsel on the matter.
>> > Added to which Sanz doesn't actually say that the re-entrant
tuning
>> > must be used for his music or the skies will fall on you.
>> > So if you want to, I would say feel free to use octave
stringing
>> even
>> > if you want to play Sanz. But it is not difficult to change
the
>> > stringing on your instrument and it has no bearing on how it
is
>> > constructed or fretted so you could try different methods as
you
>> wish.
>> > Hope you are not thoroughly confused by now.
>> > Monica
>> > ----- Original Message ----- From: "Chris Despopoulos"
>> > <[1][11][20]despopoulos_chr...@yahoo.com>
>> > To: "Harlan Glotzer" <[2][12][21]hargloresea...@gmail.com>;
>> > <[3][13][22]vihuela@cs.dartmouth.edu>
>> > Sent: Thursday, January 20, 2011 8:09 PM
>> > Subject: [VIHUELA] Re: Baroque guitar, where to start?
>> >> Hi Harlan... Some comments from an amateur...
>> >> I believe I have seen some references to graduating the fret
gut
as
>> > you
>> >> move up the neck, but I can't remember where. Nonetheless,
my
>> > guitar
>> >> uses the same size gut for all the frets, and it was made by
a
very
>> >> reputable person who not only builds instruments, but
teaches,
>> > realizes
>> >> ancient instruments, and realizes ancient building
techniques.
>> >> If by the so-called Spanish tuning you mean stringing your
>> > instrument
>> >> in the manner some people argue may or may not have been
supported
>> > (or
>> >> not) by the writings of Spanish (and other) composers,
including
>> > Gaspar
>> >> Sanz, then I would guess you mean fully re-entrant tuning
with
no
>> > bass
>> >> strings on the A and D courses. (If you want to entertain
yourself,
>> >> look through the archives of this list to see how inflamed
that
>> > topic
>> >> can be. It's almost as howling as the question of playing
with
>> >> fingernails was in Tarrega's day.)
>> >> I can say the following:
>> >> 1 I currently have my instrumnet strung in a fully re-entrant
>> > manner.
>> >> 2 I find there is no limitation in the range, power, or
musicality
>> > of
>> >> the
>> >> pieces I'm playing at the moment. I'm mostly focussed on
Gaspar
>> >> Sanz.
>> >> 3 I also find zero limitations where modern composition is
>> > concerned.
>> >> In fact,
>> >> I was asked to compose ap piece -- an attempt at minimalism
>> > (sadly,
>> >> it approaches New Age
>> >> much more than I would have liked) and I can tell you that
the
>> > only
>> >> limitations were my own.
>> >> If you want to hear it, let me know and I'll post it to my
web
>> > site.
>> >> 4 Counter to intuition, I find the voicings and patterns to
be
>> >> liberating -- for now at least.
>> >> 5 I'm still learning -- that's a good thing.
>> >> Coming fresh to this instrument may be a great advantage to
you.
>> > You
>> >> will not be prejudiced by having played the same pieces on a
modern
>> >> guitar. Also, Spanish tablature is "upside down" for modern
>> > musicians,
>> >> which makes it harder to deal with, the more experience you
have
>> > with
>> >> the modern instrument. But make no mistake, the baroque
guitar
is
>> > an
>> >> instrument of its own, and you can't successfully treat is as
>> >> yet-another-variation on the modern guitar. That would be
like
>> > saying
>> >> the electric guitar and the classical guitar are the same
>> > instrument.
>> >> On the other hand, your disadvantages will largely be with
yuor
>> > right
>> >> hand, in my opinion. I happen to believe that's the more
important
>> >> hand. The left hand is what drives the harmony and text, but
the
>> > right
>> >> hand is what turns it into music. As you listen to baroque
playing,
>> >> you should close your eyes and try to *feel* how it is to
make
your
>> >> right hand do all that.
>> >> I wish you the best of luck with your plans to build the
guitar. As
>> >> you get to specific issues, I'm sure people on this list can
offer
>> > much
>> >> information -- historical and practical.
>> >> Cheers cud
>> >>
__________________________________________________________________
>> >>
>> >> From: Harlan Glotzer <[4][14][23]hargloresea...@gmail.com>
>> >> To: "[5][15][24]vihuela@cs.dartmouth.edu"
>> <[6][16][25]vihuela@cs.dartmouth.edu>
>> >> Sent: Thu, January 20, 2011 1:59:05 PM
>> >> Subject: [VIHUELA] Baroque guitar, where to start?
>> >> Hello all,
>> >> I have recently joined this list and it is great. I am
gearing
up
>> > to
>> >> build my first baroque guitar and am getting more and more
excited
>> > by
>> >> the day waiting for the plan (Ashmolean 1642 Rene Voboam). I
have
>> > built
>> >> instruments before so I am no stranger to working with wood
(and
a
>> >> friend of mine is a luthier so I should be able to get some
of
my
>> >> questions fielded).
>> >> Two questions, however, that seem to elude me concern frets
and
>> >> strings. Do I need to gauge my frets as I move up the neck?
Or
can
>> > I
>> >> just use a fixed gauge of gut/nylon/etc?
>> >> The other is a more performance oriented question. What
>> >> stringing/tuning scheme would you suggest for a beginner? I
seem
go
>> > be
>> >> most drawn to the Spanish music, but am a complete beginner
on
the
>> >> guitar, and I'm also afraid the Spanish tuning will limit
what I
can
>> >> play (I'd like to experiment with new/modern music as well).
What
>> >> tuning/stringing do you prefer and why?
>> >> Any advice on building, fretting, tuning, and the playing of
the
>> >> baroque guitar would be most helpful.
>> >> Thanks!
>> >> Harlan
>> >> To get on or off this list see list information at
>> >>
[1][7][17][26][2]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.ht
ml
>> >>
>> >> --
>> >>
>> >> References
>> >>
>> >> 1.
[8][18][27][3]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> >>
>> >
>> > --
>> >
>> > References
>> >
>> > 1. mailto:[19][28]despopoulos_chr...@yahoo.com
>> > 2. mailto:[20][29]hargloresea...@gmail.com
>> > 3. mailto:[21][30]vihuela@cs.dartmouth.edu
>> > 4. mailto:[22][31]hargloresea...@gmail.com
>> > 5. mailto:[23][32]vihuela@cs.dartmouth.edu
>> > 6. mailto:[24][33]vihuela@cs.dartmouth.edu
>> > 7.
[25][34][4]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> > 8.
[26][35][5]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> >
>> --
>> References
>> 1. mailto:[36]despopoulos_chr...@yahoo.com
>> 2. mailto:[37]mjlh...@tiscali.co.uk
>> 3. mailto:[38]hargloresea...@gmail.com
>> 4. mailto:[39]despopoulos_chr...@yahoo.com
>> 5. mailto:[40]mjlh...@tiscali.co.uk
>> 6. mailto:[41]vihuela@cs.dartmouth.edu
>> 7. mailto:[42]despopoulos_chr...@yahoo.com
>> 8. mailto:[43]mjlh...@tiscali.co.uk
>> 9. mailto:[44]despopoulos_chr...@yahoo.com
>> 10. mailto:[45]vihuela@cs.dartmouth.edu
>> 11. mailto:[46]despopoulos_chr...@yahoo.com
>> 12. mailto:[47]hargloresea...@gmail.com
>> 13. mailto:[48]vihuela@cs.dartmouth.edu
>> 14. mailto:[49]hargloresea...@gmail.com
>> 15. mailto:[50]vihuela@cs.dartmouth.edu
>> 16. mailto:[51]vihuela@cs.dartmouth.edu
>> 17.
[52][6]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> 18.
[53][7]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> 19. mailto:[54]despopoulos_chr...@yahoo.com
>> 20. mailto:[55]hargloresea...@gmail.com
>> 21. mailto:[56]vihuela@cs.dartmouth.edu
>> 22. mailto:[57]hargloresea...@gmail.com
>> 23. mailto:[58]vihuela@cs.dartmouth.edu
>> 24. mailto:[59]vihuela@cs.dartmouth.edu
>> 25.
[60][8]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>> 26.
[61][9]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
>>
>
>
--
References
1. [10]http://cudspan.net/baroque/
2. [11]mailto:mjlh...@tiscali.co.uk
3. [12]mailto:despopoulos_chr...@yahoo.com
4. [13]mailto:mjlh...@tiscali.co.uk
5. [14]mailto:vihuela@cs.dartmouth.edu
6. [15]mailto:mjlh...@tiscali.co.uk
7. [16]mailto:despopoulos_chr...@yahoo.com
8. [17]mailto:vihuela@cs.dartmouth.edu
9. [18]mailto:mjlh...@tiscali.co.uk
10. [19]mailto:hargloresea...@gmail.com
11. [20]mailto:vihuela@cs.dartmouth.edu
12. [21]mailto:hargloresea...@gmail.com
13. [22]mailto:despopoulos_chr...@yahoo.com
14. [23]mailto:mjlh...@tiscali.co.uk
15. [24]mailto:vihuela@cs.dartmouth.edu
16. [25]mailto:despopoulos_chr...@yahoo.com
17. [26]mailto:mjlh...@tiscali.co.uk
18. [27]mailto:despopoulos_chr...@yahoo.com
19. [28]mailto:vihuela@cs.dartmouth.edu
20. [29]mailto:despopoulos_chr...@yahoo.com
21. [30]mailto:hargloresea...@gmail.com
22. [31]mailto:vihuela@cs.dartmouth.edu
23. [32]mailto:hargloresea...@gmail.com
24. [33]mailto:vihuela@cs.dartmouth.edu
25. [34]mailto:vihuela@cs.dartmouth.edu
26. [35]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
27. [36]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
28. [37]mailto:despopoulos_chr...@yahoo.com
29. [38]mailto:hargloresea...@gmail.com
30. [39]mailto:vihuela@cs.dartmouth.edu
31. [40]mailto:hargloresea...@gmail.com
32. [41]mailto:vihuela@cs.dartmouth.edu
33. [42]mailto:vihuela@cs.dartmouth.edu
34. [43]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
35. [44]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
36. [45]mailto:despopoulos_chr...@yahoo.com
37. [46]mailto:mjlh...@tiscali.co.uk
38. [47]mailto:hargloresea...@gmail.com
39. [48]mailto:despopoulos_chr...@yahoo.com
40. [49]mailto:mjlh...@tiscali.co.uk
41. [50]mailto:vihuela@cs.dartmouth.edu
42. [51]mailto:despopoulos_chr...@yahoo.com
43. [52]mailto:mjlh...@tiscali.co.uk
44. [53]mailto:despopoulos_chr...@yahoo.com
45. [54]mailto:vihuela@cs.dartmouth.edu
46. [55]mailto:despopoulos_chr...@yahoo.com
47. [56]mailto:hargloresea...@gmail.com
48. [57]mailto:vihuela@cs.dartmouth.edu
49. [58]mailto:hargloresea...@gmail.com
50. [59]mailto:vihuela@cs.dartmouth.edu
51. [60]mailto:vihuela@cs.dartmouth.edu
52. [61]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
53. [62]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
54. [63]mailto:despopoulos_chr...@yahoo.com
55. [64]mailto:hargloresea...@gmail.com
56. [65]mailto:vihuela@cs.dartmouth.edu
57. [66]mailto:hargloresea...@gmail.com
58. [67]mailto:vihuela@cs.dartmouth.edu
59. [68]mailto:vihuela@cs.dartmouth.edu
60. [69]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
61. [70]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
--
References
1. http://cudspan.net/baroque/
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
10. http://cudspan.net/baroque/
11. mailto:mjlh...@tiscali.co.uk
12. mailto:despopoulos_chr...@yahoo.com
13. mailto:mjlh...@tiscali.co.uk
14. mailto:vihuela@cs.dartmouth.edu
15. mailto:mjlh...@tiscali.co.uk
16. mailto:despopoulos_chr...@yahoo.com
17. mailto:vihuela@cs.dartmouth.edu
18. mailto:mjlh...@tiscali.co.uk
19. mailto:hargloresea...@gmail.com
20. mailto:vihuela@cs.dartmouth.edu
21. mailto:hargloresea...@gmail.com
22. mailto:despopoulos_chr...@yahoo.com
23. mailto:mjlh...@tiscali.co.uk
24. mailto:vihuela@cs.dartmouth.edu
25. mailto:despopoulos_chr...@yahoo.com
26. mailto:mjlh...@tiscali.co.uk
27. mailto:despopoulos_chr...@yahoo.com
28. mailto:vihuela@cs.dartmouth.edu
29. mailto:despopoulos_chr...@yahoo.com
30. mailto:hargloresea...@gmail.com
31. mailto:vihuela@cs.dartmouth.edu
32. mailto:hargloresea...@gmail.com
33. mailto:vihuela@cs.dartmouth.edu
34. mailto:vihuela@cs.dartmouth.edu
35. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
36. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
37. mailto:despopoulos_chr...@yahoo.com
38. mailto:hargloresea...@gmail.com
39. mailto:vihuela@cs.dartmouth.edu
40. mailto:hargloresea...@gmail.com
41. mailto:vihuela@cs.dartmouth.edu
42. mailto:vihuela@cs.dartmouth.edu
43. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
44. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
45. mailto:despopoulos_chr...@yahoo.com
46. mailto:mjlh...@tiscali.co.uk
47. mailto:hargloresea...@gmail.com
48. mailto:despopoulos_chr...@yahoo.com
49. mailto:mjlh...@tiscali.co.uk
50. mailto:vihuela@cs.dartmouth.edu
51. mailto:despopoulos_chr...@yahoo.com
52. mailto:mjlh...@tiscali.co.uk
53. mailto:despopoulos_chr...@yahoo.com
54. mailto:vihuela@cs.dartmouth.edu
55. mailto:despopoulos_chr...@yahoo.com
56. mailto:hargloresea...@gmail.com
57. mailto:vihuela@cs.dartmouth.edu
58. mailto:hargloresea...@gmail.com
59. mailto:vihuela@cs.dartmouth.edu
60. mailto:vihuela@cs.dartmouth.edu
61. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
62. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
63. mailto:despopoulos_chr...@yahoo.com
64. mailto:hargloresea...@gmail.com
65. mailto:vihuela@cs.dartmouth.edu
66. mailto:hargloresea...@gmail.com
67. mailto:vihuela@cs.dartmouth.edu
68. mailto:vihuela@cs.dartmouth.edu
69. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
70. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
