Hello Marion,
Yes, I would be delighted to receive a PDF of the the DS- modeled
sonata. By way of return, I can offer a suite in the style of one for
an archlute. It is for a 10s terz / alt( in G ). You may be able to
do something with it. Unfortunately, although I can scan to create a
JPEG, and then save as a PDF, for some reason, attaching to an email
seems to lead to a scrambled image...at the moment. I am trying to
sort this out, but if I fail it will have to go airmail.
On re-entrant theorbo tuning, since the third course is the top line,
one can write this up octave and arrange the rest to fall
appropriately underneath. Having done this with a number of pieces by
de Visee, I find that they fit on a 7c renaissance lute in G,
although an octave too high. To get a theorbo-like sound I then play
them on my 11s tenor in D, used as a transposing instrument.
Although this is not the forum to to discuss theoretical physics, I
agree that solving the Schrodinger equation for anything beyond the
hydrogen atom( and that is bad enough ), is grim-going. My interest
in the LD for EM-fields is two-fold, 1) the usual form deals with
fields in vacuo, whereas the Maxwell eqns. are deemed to hold
generally; 2) the LD is phrased in terms of the potentials which
come from Maxwell 2 and 4, and the Euler-Lagrange eqns. generate
Maxwell 1 and 3. Last Monday I finally realised how to re-write the
standard LD to show that Maxwell holds in anisotropic media, but I am
still searching for a formulation that works in terms of the physical
fields rather than the potentials. Must stop, I have a dental
appointment.
Cheers,
James.
On 22 Mar 2006, at 13:52, Marion Ceruti wrote:

> Hi James,
>
> --- james r smith <vector10@...> wrote:
>
>> Hello again, Marion,
>> The information on the TablEdit software sounds very useful. I will
>> investigate. Mind you,
>> G7 is supposed to do this, but I can find many things I would rather
>> do than learn new software.
>
> ++It's really not too hard, not like solving the Schrodinger equation
> for the DNA molecule.
>
>> My current distraction is the Lagrangian density tensor for
>> electromagnetism.
>
> ++I remember that. I don't think of it often when I am playing baroque
> music. I wonder if Lagrange or LaPlace played an 11 or 13 course lute.
>
>> Thank you for the information on the Dalla Casa book, it sounds a
>> very worthwhile
>> acquisition. I shall try to order a copy via the web. Have you tried
>> any of the pieces from
>> the Kapsburger book for the chittarone that Stephen mentioned?
>
> ++I have the book but I also have a theorbo, which I would use.
> I would not play them on my Asturias because it Kapsberger
> wrote for the re-entrant tuning of the theorbo and not for the Dm
> tuning, which is how I tund my Asturias.
>
>> Some are in tab, some in bass clef. Although I can play from
> renaissance
>> talature, I do prefer to play from musical notation, thus, I
> transcribe all baroque pieces.
>
> ++I prefer tab with numbers, straight or Italian reverse tab. TablEdit
> can handle
> either one. An easy way to transcribe into staff notation is to input
> the tab
> into the program and you automatically get staff. The printout is very
> nice You
> can get staff and tab, staff alone or tab alone.
>
>> Like yourself, I no longer play standard 6s guitar. Having heard the
>> wonderful sound of lutes in ensemble, I acquired a complete set of
> the guitar family in
>> the late '90's_octave, requinto, terz, baritone, bass, in addition
> to my several tenors....
>
> ++I have requintos, 11-string guitar (Asturias), 8-course lutes and
> 13-course lute among
> many mandolins, domras and even a ukelele. But I find it hard to play
> Weiss on the uke. :)
>
>> Having discovered the multi-string guitar, I have, in effect, given
> them all away, though I
>> do have a couple of tenors that I keep (totally unplayed), for "
> sentimental reasons". I
>> wonder how many players of multi_string guitars still play a 6s?
>
> ++I still use the requintos for 6-course ren music.
>
>> A lutenist I spoke
>> to at a meeting of the Lute Society in London, characterised the 6s
> tenor in E as: "an
>> inadequate instrument tuned too low", which I find to be very
> accurate.
>
> ++Unless you have a the right voice. Requinto/6c lute in G are
> perfect
> for my voice range.
>
>> I like Michael Thames's concept of a 13s, the "Dresden", tuned in Dm
> like a baroque lute.
>
> ++It's a great idea.
>
>> I find it a very tempting purchase.
>
> ++I would get one but I orderd a baroque lute instead.
>
>> Also, Cuculleli's 14s alt for the archlute repertoire must be the
> sensible
>> option.
>
> ++Another wonderful idea but I will probably buy an archlute.
>
>> Imagine trying to carry an archlute on the New York sub-way, or the
> London
>> underground!
>
> ++I would rather bring it there than on an airplane,
>
>> Thank you for your kind comments on the article. I wonder how many
>> amateur 6s players it has Influenced?
>
> ++Lots I hope,
>
>> My impression is that the overwhelming majority see no need to
>> change.
>
> ++Much of the classical guitar communitiy is a stuck in the mud as
> some
> of the lute community. Neither can see the merit in changing anything.
> They forgot that Weiss
> changed the 11 to a 13 course lute.
>
>> You mentioned a sonata in G, would you be so good as to say a little
>> more about it?
>
> ++It's an original patterned after D. Scarlatti sonatas. It also
> can be
> played on the mandolino as a luito concertante. If you want a copy i
> can send the pdf.
>
>> Again my thanks,
>> James.
>>
>>
>
> cheers,
> M
>>
>>
>>
>
>
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