I recently posted a note on the de Visee theorbo pieces arranged by Romic for
"archlute",
published by Tree Editions, that fit exactly onto an altgitarren because Romic
tunes his third
course as for a guitar in G. The lutenist, Richard Civiol, just type this into
Google to find the
many entries under his name, under the website, luth librairie, has a fair
number of pieces of
considerable interest to a guitarist. In particular, the pieces by Pietro Paolo
Melli, for lute,
attiorbato, as well as chittarone, are little known to guitarists, outside the
piece, "La
Monarcha", and are characteristc pieces of some originality and charm. The
attiorbato pieces
are written for an 11c instrument that fit well onto an altgitarren. They are
published in a
very clear Italian tablature. The pieces are easily transcribed into standard
notation, and I
have found that with a little practice one learns to play from the tablature
directly, though I
am still rather slow at the moment.

Hi everyone,

  In case you are in Southern CA why not drop into our concerts?

Le Dame Musicanti

http://web.tiscali.it/awebd

Donatella Galletti, baroque lute and Marion Ceruti, mezzosoprano
  and mandolino lombardo will give a series of three free concerts and
  instruments shows all on Sat. nights at 7PM in San Diego:

  29 July and 12 Aug. at House of Pacific Relations (near House of
  Italy) in Balboa Park
  5 Aug. at the Italian Community Center at 1659 Columbia St.

  If you are coming to the 5 Aug. concert come early. Last time there
was no
room for anyone who came late; even standing room was full.  Members of
the
audience were looking in the door and others looking for parking during
the concert. In fact we expect a full house at each concert so showing
up
  early is a good policy.

  The concerts, sponsored by House of Italy, will feature Italian and
  German baroque music. CDs will be on sale and I believe there will be
some
light  refreshments. Each program will be different, although we may
repeat
  a few favorites.

  If you want to see variouis kinds of instruments from the lute family,
we will
  have on display and for demonstration, baroque lutes, renaissance
lute,
  theorbo and mandolini.

We will perform at least five works that have not been recorded(except
for our recordings) and that unfortunately are rarely performed outside
of
these concerts. A question and answer period is scheduled after each
concert during the instrument display.

Hope to see you there.
Marion


__________________________________________________
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Christopher,
Have you managed to set up the method for ordering the music book "Altgitarren",
yet? I
tried "threads", but they only produced the email address that does not seem to
respond, at
least, to me!
James.

Thank you for your kind words!
I will look into the AltoGuitar-book issue.
I'll start a thread on altoguitar.com about it.

Also I will check if there could be a spelling alternative for the
board. I do not know how to implement one presently, but I will look
around. It's a good idea!

Talk to you on the other site :)  (... yup, I'm trying to drag you
all over there... There is already some registered members.)

Christoffer W, Admin The Alto Guitar Group & altoguitar.com


--- In altgitarren@yahoogroups.com, J R Smith <vector10@...> wrote:
>
> Hello Christopher,
> A vote of thanks on all our behalves is in order for all your
> efforts! It is now up to members to fill in the various sites with
> useful material.
> One general problem, the posting facility does not seem to have a
> spell-checker, and I think we all have problems with spelling when
> typing. Can anything be done?
> On a personal note, I have now tried the Malmo email address
> enquiring about that book of music for the altgitarren, several
> times...all with no success. Have you any suggestions on how I
should
> try to make contact?
> With appreciation,
> James.
> On 20 Apr 2006, at 11:33, Christoffer wrote:
>
> > Hello fellow travellers.
> > I hope the easter has been joyful for you.
> >
> > I've been talking about the new Altoguitar site earlier, and now
it
> > is finished for launch. There will be a kind of beta stage so
that I
> > will be able to iron out smaller details in the design of it.
> >
> > The things that is now up and working is:
> >
> > * Forum (public to read, only users may post)
> > * Pictures gallery (users may upload)
> > * Files archive (users may upload)
> > * Links (users may send links online and the admins will publish
> > them)
> >
> > I will start working on some articles about the alto guitar for
> > beginners.
> >
> > Please give me feedback at the site forum. I want to make the site
> > as much as I can after your wishes.
> >
> > My plan is to move all the activity of this group over to that
site.
> > Later tonight you will be able to enter the new site at
> > http://altoguitar.com
> >
> > Welcome.
> >
> > // Christoffer Wadensten, admin The Alto Guitar Group
> >
> >
> >
> >
> >
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
>

Hello Christopher,
A vote of thanks on all our behalves is in order for all your
efforts! It is now up to members to fill in the various sites with
useful material.
One general problem, the posting facility does not seem to have a
spell-checker, and I think we all have problems with spelling when
typing. Can anything be done?
On a personal note, I have now tried the Malmo email address
enquiring about that book of music for the altgitarren, several
times...all with no success. Have you any suggestions on how I should
try to make contact?
With appreciation,
James.
On 20 Apr 2006, at 11:33, Christoffer wrote:

> Hello fellow travellers.
> I hope the easter has been joyful for you.
>
> I've been talking about the new Altoguitar site earlier, and now it
> is finished for launch. There will be a kind of beta stage so that I
> will be able to iron out smaller details in the design of it.
>
> The things that is now up and working is:
>
> * Forum (public to read, only users may post)
> * Pictures gallery (users may upload)
> * Files archive (users may upload)
> * Links (users may send links online and the admins will publish
> them)
>
> I will start working on some articles about the alto guitar for
> beginners.
>
> Please give me feedback at the site forum. I want to make the site
> as much as I can after your wishes.
>
> My plan is to move all the activity of this group over to that site.
> Later tonight you will be able to enter the new site at
> http://altoguitar.com
>
> Welcome.
>
> // Christoffer Wadensten, admin The Alto Guitar Group
>
>
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>

Hello fellow travellers.
I hope the easter has been joyful for you.

I've been talking about the new Altoguitar site earlier, and now it
is finished for launch. There will be a kind of beta stage so that I
will be able to iron out smaller details in the design of it.

The things that is now up and working is:

* Forum (public to read, only users may post)
* Pictures gallery (users may upload)
* Files archive (users may upload)
* Links (users may send links online and the admins will publish
them)

I will start working on some articles about the alto guitar for
beginners.

Please give me feedback at the site forum. I want to make the site
as much as I can after your wishes.

My plan is to move all the activity of this group over to that site.
Later tonight you will be able to enter the new site at
http://altoguitar.com

Welcome.

// Christoffer Wadensten, admin The Alto Guitar Group

Hello fellow travellers.
I hope the easter has been joyful for you.

I've been talking about the new Altoguitar site earlier, and now it
is finished for launch. There will be a kind of beta stage so that I
will be able to iron out smaller details in the design of it.

The things that is now up and working is:

* Forum (public to read, only users may post)
* Pictures gallery (users may upload)
* Files archive (users may upload)
* Links (users may send links online and the admins will publish
them)

I will start working on some articles about the alto guitar for
beginners.

Please give me feedback at the site forum. I want to make the site
as much as I can after your wishes.

My plan is to move all the activity of this group over to that site.
Later tonight you will be able to enter the new site at
http://altoguitar.com

Welcome.

// Christoffer Wadensten, admin The Alto Guitar Group

--- In altgitarren@yahoogroups.com, "zenguitar2003" <zenguitar2003@...> wrote:
>
> Funny thing....there's an Asturias 11 string within 20 miles of my
> home, but the owner refuses to sell....he has on occasion loaned it to
> me...really just made me want one more ...haha...Still, that
> guitar,even for a production instrument, is around
> $3700....hmmmmm...i'll keep scouring the boards for a used one. Thanks
> for the suggestions folks...I appreciate it
>

There is an excellent guitarist by the name of Bruce Dunlap in Santa Fe, NM who was selling an Austuris 10 string some time ago I'm not sure if he has sold it or not.  Although unfortunatly it's a 10 string (fish nor fowel) you might be able to find someone to add one more bass string, and turn it in to a complete musical instrument.

http://www.brucedunlap.com/home.html

Lutesin2

Hello James,

I am sorry that I did not emai you sooner when the music arrived. I
don't always
check my email but it came in a few days before my message. I must say
that
I don't recognize the Aria. Where did you get it?

Congratualtions on your compoisitions! Do you plan to record them? I
plan to record
all of my compositions (except the ones I don't like).  Thank you for
the information
regarding lute duets. I am listening to one now - Ed Martin and Paul
Berget playing
Weiss sonata in C.

I am using Nylgut strings on a requinto, a baroque lute and also on a
six-course
mandolino. Some people can tell the  sound from gut but I can't seem to
tell
which is which just by listening. The thin Nylgut trebbles last longer
than gut but the
gut mid-range and bass strings last a long time anyway. I have never
had to replace
then on my eight-course renaissance lute. Now I am using the alchemia
strings on a
requinto, which I use for six-course renaissance lute music (I don't
have a six-course
lute) and some can't tell the difference between the requinto with
Nylgut strings and a
six-coures lute of the same string length and tuning. The requinto
sounds different
'from a lute to me, but it sounds very good nevertheless.

This week I will be away from email but expect to be back Friday or
Sat.

All the best,
Marion

--- james r smith <vector10@...> wrote:

> Hello Marion,
> I am relieved that the music finally arrived! The pieces were written
> in reverse order, starting
> with the Giga inspired by Dalla Casa. The Sarabande is de Visee("La
> Folia"), do you recognise
> the Aria...? All the rest are mine.
> There are a fair number of duets for lutes a 4th. apart in Phalese
> and Haeckel.They are
> published by the (UK) Lute Society, and are available via their
> website. They are for 6c lutes.
> I have done the calculations for a 65 and a 67cm tenor in D for a
> D'Addario string set. If
> these could be of any interest, I will post them here? If one looks
> at the size of a guitar top
> plate for a tenor in D, a Ramirez 1a with a 66.4cm. scale is about
> right, though I designed
> mine to be just a little bigger, it does have eleven strings! The
> body size of a typical 65cm.
> tenor is usually just a little too small to give fist rate
> performance in D, "satisfactory" would
> be the typical rating. A tenor in D, is tuned as an18th. century
> "colascione", there are about
> five other spellings of this word! There is a significant repertoire
> for this instrument.
> On the subject of strings, I note your interest in nylgut. Have you
> tried any yet? the Spanish
> 10s player, Rojo, recommends them for simulating the lute sound.
> Have you found the Werner Icking Music Archive website? When you
> scroll down to
> "Tablatures pour lutes, guitarres, theorbo", there are some very fine
> pieces freely available in
> PDF format in both renaissance and baroque tuning.
> More anon,
> Cheers,
> James.
>
>
>
>

__________________________________________________
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Hello Marion,
I am relieved that the music finally arrived! The pieces were written in reverse
order, starting
with the Giga inspired by Dalla Casa. The Sarabande is de Visee("La Folia"), do
you recognise
the Aria...? All the rest are mine.
There are a fair number of duets for lutes a 4th. apart in Phalese and
Haeckel.They are
published by the (UK) Lute Society, and are available via their website. They
are for 6c lutes.
I have done the calculations for a 65 and a 67cm tenor in D for a  D'Addario
string set. If
these could be of any interest, I will post them here? If one looks at the size
of a guitar top
plate for a tenor in D, a Ramirez 1a with a 66.4cm. scale is about right, though
I designed
mine to be just a little bigger, it does have eleven strings! The body size of a
typical 65cm.
tenor is usually just a little too small to give fist rate performance in D,
"satisfactory" would
be the typical rating. A tenor in D, is tuned as an18th. century "colascione",
there are about
five other spellings of this word! There is a significant repertoire for this
instrument.
On the subject of strings, I note your interest in nylgut. Have you tried any
yet? the Spanish
10s player, Rojo, recommends them for simulating the lute sound.
Have you found the Werner Icking Music Archive website? When you scroll down to
"Tablatures pour lutes, guitarres, theorbo", there are some very fine pieces
freely available in
PDF format in both renaissance and baroque tuning.
More anon,
Cheers,
James.

Hello James,

Many thanks for your package with music and for the string specs below.
I am always interested to know more about strings and music. I have not
heard any duets that were tuned for two lutes a 4th apart but I have
played lute duets for equally tuned instruments.

I am always interested also to meet composers who write music in this
genre for solo fretted instruments, like lutes and alts. I note the
attribution of the Giga but who is the composer of the preludo, gavota,
etc? Is it from Dalla Casa or was that just the inspiration?

Thanks again and best regards,
Marion

--- james r smith <vector10@...> wrote:

> Hello Marion,
> The serial numbers from the D'Addario string catalogue(rectified
> nylon) for a 63cm terz, i.e.,
> all strings having the same length are as follows:
> 1)  NYL024; 2)  NYL 029; 3)  NYL039; 4)  NYL024W; 5)  NYL031W; 6)
> NYL036W;
> 7)  NYL043W; 8)  NYL048W; 9)  NYL050W; 10)  NYL056W.
> For lower strings below C, one can choose the B and A for a 10s tenor
> in E, etc.. A more
> powerful alternative to that given for 6) is NYL040W, it has a
> tension more consistent with the
> bottom four strings. The D'Addario string catalogue exists as a PDF
> on their web-site and can
> be downloaded.
> I note that the original tuning of the alt was in G, which is,
> ofcourse, very suitable for
> renaissance/archlute repertoire. A fair number, like yourself, tune
> as for an 11c baroque lute.
> One can use the original tuning as a transposing instrument on
> baroque, and I find this
> effective in terms of projection. However, all this is primarily
> conceived for solo work.
> Looking at renaissance duets, much was written for  equal-tuned
> lutes, but a quite a lot for
> lutes a fourth apart, typically, one in G and the other in D. Judging
> from my own 11s in D, an
> alt duo in G and D would give a sonorous effect, but I have not heard
> of any duo that has
> tried this, have you? Such a combination would also make it posible
> to give very effective
> renderings of much harpsichord music. One should not remain in the
> past, such a
> combination would offer composers a fine sound-scape!
> All the best,
> James.
>
>
>
>
>


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Hello Marion,
The serial numbers from the D'Addario string catalogue(rectified nylon) for a
63cm terz, i.e.,
all strings having the same length are as follows:
1)  NYL024; 2)  NYL 029; 3)  NYL039; 4)  NYL024W; 5)  NYL031W; 6)  NYL036W;
7)  NYL043W; 8)  NYL048W; 9)  NYL050W; 10)  NYL056W.
For lower strings below C, one can choose the B and A for a 10s tenor in E,
etc.. A more
powerful alternative to that given for 6) is NYL040W, it has a tension more
consistent with the
bottom four strings. The D'Addario string catalogue exists as a PDF on their
web-site and can
be downloaded.
I note that the original tuning of the alt was in G, which is, ofcourse, very
suitable for
renaissance/archlute repertoire. A fair number, like yourself, tune as for an
11c baroque lute.
One can use the original tuning as a transposing instrument on baroque, and I
find this
effective in terms of projection. However, all this is primarily conceived for
solo work.
Looking at renaissance duets, much was written for  equal-tuned lutes, but a
quite a lot for
lutes a fourth apart, typically, one in G and the other in D. Judging from my
own 11s in D, an
alt duo in G and D would give a sonorous effect, but I have not heard of any duo
that has
tried this, have you? Such a combination would also make it posible to give very
effective
renderings of much harpsichord music. One should not remain in the past, such a
combination would offer composers a fine sound-scape!
All the best,
James.

--- james r smith <vector10@...> wrote:

> Hello Marion,
> Thank you for the information on strings, I find this kind of thing
useful.

++you are most welcome. I always try to learn as much as possible about
strings.
There are so many different brands. Most of the ones I have tried have
ranged from
good to great, except for some of the small gut strings that wear out
too fast on my
mandolino. For the most part when put the right strings on my alt they
last quite a long time.

>While I use
> Hannabach medium tension on my alt, I have found that using the
> D'Addario string tension
> guide for their rectified nylon group, has come up with a sting set
> for the 63cm terz that is
> very effective. To save doing the calculations, if you ever need the
> serial numbers, I shall be
> happy to send them.

++Thanks, I would appreciate that, if you don't mind.

> Incidentally, the calculation is based on the
> classical string tension
> formula for a purely flexible string(1D wave equation result,
> ignoring elastic lateral "beam-
> bending"). I use Hannabach special order, Fsharp sets for my 65cm
> tenors to simulate
> renaissance pitch. Occassionally, I find that the top string of this
> set is better replaced by a  low tension D'Addario top E--tuned up.
> I tried the Malmo email address-for the fourth time now-for the book
> of alt music,still no response...?
> I did assume that your suggestion over the two famous French
> scientists was at least partly humorous!

++In a way it was, but then I always wonder if any of those scientists
ever met
Bach, Weiss or any of the other composers. I also have wondered how
many scientist-muscians may have influenced instrument design.

> However, there is a very strong correlation between
> mathematical ability and musical ability, hence my response.

++I believe it. I majored in math in high school. A math teacher once
told me about the correlation.

> I have posted the "Suite", airmail, on 29th., so, hopefully, within
> the next wee while it should arrive.

>I'll let you know when I receive it. Was I supposed to send you
something? If so, I forgot what it was.

Thank you in advance,
Marion

> All the best,
> James.


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__________________________________________________
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http://mail.yahoo.com

Hello Marion,
Thank you for the information on strings, I find this kind of thing useful.
While I use
Hannabach medium tension on my alt, I have found that using the D'Addario string
tension
guide for their rectified nylon group, has come up with a sting set for the 63cm
terz that is
very effective. To save doing the calculations, if you ever need the serial
numbers, I shall be
happy to send them. Incidentally, the calculation is based on the classical
string tension
formula for a purely flexible string(1D wave equation result, ignoring elastic
lateral "beam-
bending"). I use Hannabach special order, Fsharp sets for my 65cm tenors to
simulate
renaissance pitch. Occassionally, I find that the top string of this set is
better replaced by a
low tension D'Addario top E--tuned up.
I tried the Malmo email address-for the fourth time now-for the book of alt
music,still no
response...?
I did assume that your suggestion over the two famous French scientists was at
least partly
humorous! However, there is a very strong correlation between mathematical
ability and
musical ability, hence my response.
I have posted the "Suite", airmail, on 29th., so, hopefully, within the next wee
while it should
arrive.
All the best,
James.

Hello James,

Sorry about the delay in answering your message. I think the
renaissance/archlute tuning is a good one. I use it on both of my
8-course renaissance lutes.

I have heard about th Yepes-type re-entrant tuning but have not tried
it (yet).

For the Dm tuning I am using Savarez for the first three, a durable
Hannabach D for the 4th, a standard silver wound Savarez or D'Addario
J51 for the 5th. The 6th through 10th consist of Savarez or D'Addario
6th silver wound strings and the 11th is a Hannabach 7th guitar string,
medium tension. Hard tension is a bit too much for the 11th.

If I change to something else, I will try the Aquila Alchemia Nylgut
and silver wound for the standard strings although I will probably keep
the Hannabach strings where they are.

Thomas Shall is a very good lutenist and very nice too. We traded CDs.
He sent me 3 so I owe him 2 more. I have not seen his Dalla Casa piece
but look forward to finding it.

I was only half joking about Laplace and Lagrange, although Alexander
Borodin was both a chemist and a composer. Other than him and myself I
know of no other C&C combination but would be glad to find others.

When my second baroque lute is received I probably will stick to the Dm
tuning on my alt guitar. However, I like the archlute tuning and have
made plans to acquire an archlute but both seller and I agree that
therer is no rush.

A domra concerto is something I want to write but I have so many
projects ahead of it, that will have to wait until I finish more
recordings.

All the best,
Marion

--- james r smith <vector10@...> wrote:

> Hello Marion,
> You ask about my favourite tuning for the alt. I have only ever used
> that in G, as a major
> interest is renaissance / archlute repertoire. Undoubtedly, the Dm
> tuning is very
> convenient for 11c baroque repertoire, though the pieces I have
> transcribed work with 8s/
> 10s tenors in E  with only occassional modification of the bass line
> and problems with
> internal harmonies. A Yepes-type re-entrant tuning on 9&10 would
> solve a lot of left-
> hand awkwardness. I prefer to play baroque, either on an alt in G, or
> a tenor in F sharp,
> used as transposing instuments. I feel this brightens the sound.
> Incidentally, what strings
> do you use for your Dm tuning? I use Hannabach medium tension for my
> alt in G.
> Have you found the Dalla Casa piece in the Thomas Schall website?
> All the autobiographical material I have read on Laplace, Lagrange
> and Legendre has
> concentrated on their scientific careers, with nothing, as far as I
> can recall, on their
> cultural
> interests. I would be suprised if they had no musical interests, but
> the lute was very much
> in decline during their careers. At the French court, before the
> revolution, there was an
> amount of experimentation on lute/guitar hybrids. I wonder if any of
> these prominent
> mathematical physicists were ever called upon to offer advice on
> acoustics? At a Lute
> Society meeting in London a couple of years ago, a speaker indicated
> that books on
> playing the (baroque) lute were still being published in Germany in
> the early nineteenth
> century, so, perhaps the lute did not die as quickly/completely as
> usually supposed. Other
> than wondering if Mertz came across any of these, and thereby came up
> with his
> "romantic" tuning, which takes the bottom four courses of a 13c lute
> to add to a standard
> 6s, it is perfectly possible that the lute may have had some role in
> their households.
> A concerto for domra...?
> Kind regards,
> James.
>
>
>
>
>
>
>
>


__________________________________________________
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Hello Marion,
You ask about my favourite tuning for the alt. I have only ever used that in G,
as a major
interest is renaissance / archlute repertoire. Undoubtedly, the Dm tuning is
very
convenient for 11c baroque repertoire, though the pieces I have transcribed work
with 8s/
10s tenors in E  with only occassional modification of the bass line and
problems with
internal harmonies. A Yepes-type re-entrant tuning on 9&10 would solve a lot of
left-
hand awkwardness. I prefer to play baroque, either on an alt in G, or a tenor in
F sharp,
used as transposing instuments. I feel this brightens the sound. Incidentally,
what strings
do you use for your Dm tuning? I use Hannabach medium tension for my alt in G.
Have you found the Dalla Casa piece in the Thomas Schall website?
All the autobiographical material I have read on Laplace, Lagrange and Legendre
has
concentrated on their scientific careers, with nothing, as far as I can recall,
on their
cultural
interests. I would be suprised if they had no musical interests, but the lute
was very much
in decline during their careers. At the French court, before the revolution,
there was an
amount of experimentation on lute/guitar hybrids. I wonder if any of these
prominent
mathematical physicists were ever called upon to offer advice on acoustics? At a
Lute
Society meeting in London a couple of years ago, a speaker indicated that books
on
playing the (baroque) lute were still being published in Germany in the early
nineteenth
century, so, perhaps the lute did not die as quickly/completely as usually
supposed. Other
than wondering if Mertz came across any of these, and thereby came up with his
"romantic" tuning, which takes the bottom four courses of a 13c lute to add to a
standard
6s, it is perfectly possible that the lute may have had some role in their
households.
A concerto for domra...?
Kind regards,
James.

--- james r smith <vector10@...> wrote:

> Hello Marion,
> Very many thanks for the PDF and the midi-file_which I did not
> expect!

++You are most welcome.

> It certainly has a
> characteristic sound, but, perhaps more like Soler than Scarlatti...?

++That's interesting I am not familiar with Soler but now it looks like
I will
find out more and get some Soler music.

> When I have decided
> which route I will take for arrangement, either, in G for a 10s in
> E(Ramirez), or in E as a
> transposing key for a 10s terz/11s alt, I will send a "performance"
> view(privately).

++What tuning do you prefer for the 11s?

> Even if I  do a straight arrangement in G, I suspect that it will
have more of a
> harpsichord sound if
> performed on a 10s tenor in Fsharp, i.e., brighter.

++Actually, the original is in F# re: A440. My 11s is tuned to A 415 so
I can play
in in the studio with  tracks from my mandolino which is tuned A415 to
match
baroque lute.

> I note your varied collection of instruments! When you get your 13c
> baroque lute, will you re-string your alt in G?

++I will keep my 11s in Dm. It is very conveninent to be able to switch
between baroque
lute and alt and play the same music. For a while now I have been
thinking of getting an arch lute. In the mean time I have two 8c
renaissance lutes.

>There is a lot of very fine music, late renaissance / archlute for
> such a tuning.

++I especially like Piccinini from that period,

> Also, I was suprised to see that you had a domra.

++Actually I have three domras, two alto and one prima.

> Back in the late  '40's/'50's, a pair of duetists, one on domra, one
on guitar, used to
> perform on BBC  radio___I think they were Andrew Wolkowski and Bert
Weedon. I thought
> the combined  sound very attractive.

++That is a good combination. Our first CD has some renaissance songs
with guitar
and domra. I have not decided on the continuo instrument for my domra
concerto
but it may well be guitar. The alto domra can tune to A415.

> I note in the 10s group there has been some discussion of scale
> length, with a preference
> for the longer scale, I find that, certainly for renaissance lute
> pieces, shorter scales, e.g.,
> 57cm. for an alt, or 63cm. for a terz, preferable. This is not
> because I am "small", I am 6ft.
> (1.83m, for my fellow europeans ), with a matching hand length. I
> think the problem for
> many men is the thickness of their fingers. Mine are sufficiently
> slender that I can play the
> little octave guitar, a mere 40cm. scale.

++How wonderful to have an octave guitar. I have thought about getting
one but so far have not. 40 cm. scale is very convenient for travel.

> Segovia with his very thick fingers would have
> found this impossible! My experience in teaching seemed to show that
> women, with their  smaller hands, preferred a shoter scale. What are
your views?

++I prefer instruments with shorter scales because they are easier to
hold. I think
it depends on arm length more than hand size, which seems to be
independent of
arm length. Donatella Galletti and I have very similar hand sizes but
my arms are
quite a lot longer that hers. I recentely had my baroque lute string
spacings resized
to match hers and I have found that it is more convenient for me to
play like that.

> Noting your interest in the mandolin, have you read Hugo Dalton's
> book on the classical  mandolin?

++No, but I do have Tyler and Sparks, which is quite interesing. It
even has some
music.

> I think I am going to have to get a Mac specialist to sort out my
> scanning/PDF problem, so  will likely send the suite by airmail, if
this cannot be resolved
> quickly.

++that's ok - however you want to send it is fine with me.

> All the best for the recital,

++Thank you,
Marion


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Hello Marion,
Very many thanks for the PDF and the midi-file_which I did not expect! It
certainly has a
characteristic sound, but, perhaps more like Soler than Scarlatti...? When I
have decided
which route I will take for arrangement, either, in G for a 10s in E(Ramirez),
or in E as a
transposing key for a 10s terz/11s alt, I will send a "performance"
view(privately). Even if I
do a straight arrangement in G, I suspect that it will have more of a
harpsichord sound if
performed on a 10s tenor in Fsharp, i.e., brighter.
I note your varied collection of instruments! When you get your 13c baroque
lute, will you
re-string your alt in G? There is a lot of very fine music, late renaissance /
archlute for
such a tuning. Also, I was suprised to see that you had a domra. Back in the
late
'40's/'50's, a pair of duetists, one on domra, one on guitar, used to perform on
BBC
radio___I think they were Andrew Wolkowski and Bert Weedon. I thought the
combined
sound very attractive.
I note in the 10s group there has been some discussion of scale length, with a
preference
for the longer scale, I find that, certainly for renaissance lute pieces,
shorter scales, e.g.,
57cm. for an alt, or 63cm. for a terz, preferable. This is not because I am
"small", I am 6ft.
(1.83m, for my fellow europeans ), with a matching hand length. I think the
problem for
many men is the thickness of their fingers. Mine are sufficiently slender that I
can play the
little octave guitar, a mere 40cm. scale. Segovia with his very thick fingers
would have
found this impossible! My experience in teaching seemed to show that women, with
their
smaller hands, preferred a shoter scale. What are your views?
Noting your interest in the mandolin, have you read Hugo Dalton's book on the
classical
mandolin?
I think I am going to have to get a Mac specialist to sort out my scanning/PDF
problem, so
will likely send the suite by airmail, if this cannot be resolved quickly.
All the best for the recital,
James.

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
>>
>>
>>
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>

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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Learning how to play guitar is like learning how to speak a language.
The more you listen to, imitate and play along with professionals, the
better you'll get.
Studies show that 97% of all guitarists discover that learning how to
play guitar isn't as easy as they thought it would be. And if you keep
using the same old time-wasting strategies, drills and boring exercises
that other people use, you're even worse off!
http://www.seegoul.com/home.php/ykQZNLIZNZ

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. My current distraction is the Lagrangian density tensor for
electromagnetism.
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? 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.
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....  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? 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. I like Michael Thames's concept of a
13s, the
"Dresden", tuned in Dm like a baroque lute. I find it a very tempting purchase.
Also,
Cuculleli's 14s alt for the archlute repertoire must be the sensible option.
Imagine trying
to carry an archlute on the New York sub-way, or the London underground!
Thank you for your kind comments on the article. I wonder how many amateur 6s
players
it has Influenced? My impression is that the overwhelming majority see no need
to change.
You mentioned a sonata in G, would you be so good as to say a little more about
it?
Again my thanks,
James.

Hello Robert,

Thank you for the URLs. I'll check them out!

Best,
Marion

--- Robert Crim <fritzgsd1@...> wrote:

> --- In altgitarren@yahoogroups.com, "daethicist" <dmadams@...> wrote:
> >
> > Hello Christoffer,
> > I'm a guitarist living in California. I have two instruments: an
> 11-string alto
> > guitar by Bolin (similar to the one played by Goran Sollscher), and
> a 13-string
> > alto guitar that was built for me by Roger Stromberg in Sweden. I
> play
> > baroque and Rennaisance lute music. I especially love the music of
> Weiss, for
> > which the 13-string instrument is ideal. I would very much like to
> find more lute
> > music in staff notation, as I am not as good yet at reading lute
> tablature. Do
> > you or others have some good ideas for where I could find more
> music? I
> > know Sollscher has arranged lots of music for his 11-string, but I
> don't know if
> > he has published it anywhere. Thanks for creating this group
> > David A.
>
> Hello and welcome.  For baroque lute tablatures and translations into
> staff notation go to  http://perso.wanadoo.fr/jdf.luth/index.html and
> download the files in zip format.
>
> For some transcriptions for altgitarren of a wide range of works go
> to
>
http://www.performingarts.lu.se/forskning/publ/johnson_altgitarren.html
>
> and order the book "Altgitarren" by sending an email to
> reception@... and requesting it.  They will send it along
> quickly and will include an invoice.  You can pay in US currency.
>
> Hope this can get you started.
>
> Robert
>
>
> >
>
>
>
>


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Hi James,

The Dalla Casa book is No. 62 published in Florence Italy by SPES. I
think all the SPES
books are numbered as I have two others also. The title is "Suonate di
Celebri ASuttori per L'Arcileuto Francese." I ordered it directly from
SPES and I suppose they must speak English.

If you search the web you will probably find their site. In addition to
archlute, there are
some very cool pieces for six-course mandolino which can be played on
the alto guitar.

Let me know if you have trouble ordering it and I will look into it.

best,
Marion

--- J R Smith <vector10@...> wrote:

> Hello Marion,
> The Dalla  Casa book sounds interesting. I would be interested in the
> tile and publisher.
> Regards,
> James.
> On 21 Mar 2006, at 03:11, Marion Ceruti wrote:
>
> > Hi David,
> >
> > I am in San Diego and I have both lutes and an 11-string Asturias.
> > There is a group of lutenists in LA and also in San Fran. They have
> > chat rooms like this one. If you are interested i can try to get
> > you on
> > the lists.
> >
> > Have you tried the Filippo Dalla Casa book of lute and mandolino
> > music?
> > It is in staff notation.
> >
> > best,
> > Marion
> >
> > --- daethicist <dmadams@...> wrote:
> >
> >> Hello Christoffer,
> >> I'm a guitarist living in California. I have two instruments: an
> >> 11-string alto
> >> guitar by Bolin (similar to the one played by Goran Sollscher),
> and a
> >> 13-string
> >> alto guitar that was built for me by Roger Stromberg in Sweden. I
> >> play
> >> baroque and Rennaisance lute music. I especially love the music of
> >> Weiss, for
> >> which the 13-string instrument is ideal. I would very much like to
> >> find more lute
> >> music in staff notation, as I am not as good yet at reading lute
> >> tablature. Do
> >> you or others have some good ideas for where I could find more
> music?
> >> I
> >> know Sollscher has arranged lots of music for his 11-string, but I
> >> don't know if
> >> he has published it anywhere. Thanks for creating this group
> >> David A.
> >>
> >>
> >>
> >>
> >
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Tired of spam?  Yahoo! Mail has the best spam protection around
> > http://mail.yahoo.com
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
>
>


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Hello David and James,

You might be interested to know that some Weiss sonatas and Bach suites
are available in staff notation on eBay. I ordered the sonata no. IV in
G. You also can check www.savageclassical.com. Richard Sayage arranges
them. They are set up for standard six-string classical guitar and also
an arrangement for drop D is included. I would tune the 8th string to
F# for anything in G.

I also have a sonata in G written in both grand staff notation as well
as explict 11-string tab in case anyone is interested to explore
something that is not too hard. I use TablEdit for this and  for my
other compositions for six-course mandolino as well as for six-course
lute and requinto. It is not too expensive. I think I paid around $55.

In addition to this group and the 10-string guitar group, I also belong
to renaissance and baroque lute lists in English, Italian and French
languages, as well as the Frettedfriends group. I also belong to the
clasical guitar group although I rarely play a standard six-stringed
classical guitar any more.

James, I enjoyed your article "More than Six." You may want to use
TablEdit to do your transcriptions for you. All you do is enter the tab
and the program produces the staff notation automatically. You can
export a MIDI file or a PDF. I use it when I want to learn six-course
renaissance lute music. It is very convenient to have both tab and
staff when learning a new piece.

David, your 13-string alto guitar sounds very cool and wonderful. If I
did not have a 13c baroque lute I would get a 13-string guitar. I
recommend that you learn how to read tab. I used to hate it until I
studied it. Now it seems not too bad. It is all a matter of exposure
and practice. Anyway, it is very easy to transcribe compositions when
composing using a tab program.

If anyone is in the San Diego, CA area this summer, I will perform
three concerts 29 July, 5 Aug. and 12 Aug. Email me if you are coming
and I will send you complete details. The concert series is free,
sponsored by House of Italy in San Diego. CDs will be on sale then and
also now, in case you want to hear me. I won't have alto guitar until
my next one, so stay tuned.

All the best,
Marion

--- J R Smith <vector10@...> wrote:

> Hello David,
> In response to your request for music suitable for the alt guitar in
> mensural notation, I have hand-written arrangements of eight or nine
> pieces, predominantly, late 16th. / 17th. century, suitable for the
> 11s alt guitar in standard G-tuning. They are mostly about a page
> long, though the arrangement of Bach's ,"Jesu Joy of Man's Desiring"
> covers three pages. I assume, of course, that you are using your alt
> guitar as a transposing instrument, i.e., find the frets as for a
> standard tenor in E. If you would like copies, contact me with your
> home address at:  <vector10@...> . There is no charge. I am
> sorry to offer these as hand-written pieces, but my progress with G7,
> the guitar / lute subset of "Sibelius", is making very little headway
> due to competition with my other interests. If you wish to improve
> sight-reading of renaissance tablature, if you look at group message
> 166, you will see that I mention a publication of some of de Visee's
> works for theorbo nominally arranged for the arch-lute. However, the
> tuning of the "arch-lute" is precisely that for alt guitar, i.e., the
> third course is at B-flat rather than A. It is a straightforward
> matter to transcribe these into standard notation. I will probably
> get around to this sometime this year.
> I am also a member of the 10s guitar group,Cathedral Guitar. com,
> where you can find my article on multi-string guitars, "More than
> Six, ...", and Janet Marlow's " International Ten String Guitar
> Society".
> Cheers,
> James.
> On 20 Mar 2006, at 01:56, daethicist wrote:
>
> > Hello Christoffer,
> > I'm a guitarist living in California. I have two instruments: an
11-  string alto
> > guitar by Bolin (similar to the one played by Goran Sollscher), and
> > a 13-string alto guitar that was built for me by Roger Stromberg in
Sweden. I play
> > baroque and Rennaisance lute music. I especially love the music of
>
> > Weiss, for which the 13-string instrument is ideal. I would very
much like to
> > find more lute music in staff notation, as I am not as good yet at
reading lute
> > tablature. Do you or others have some good ideas for where I could
find more
> > music? I know Sollscher has arranged lots of music for his
11-string, but I
> > don't know if he has published it anywhere. Thanks for creating
this group
> > David A.
> >
> >
> >
> >
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--- In altgitarren@yahoogroups.com, "daethicist" <dmadams@...> wrote:
>
> Hello Christoffer,
> I'm a guitarist living in California. I have two instruments: an
11-string alto
> guitar by Bolin (similar to the one played by Goran Sollscher), and
a 13-string
> alto guitar that was built for me by Roger Stromberg in Sweden. I play
> baroque and Rennaisance lute music. I especially love the music of
Weiss, for
> which the 13-string instrument is ideal. I would very much like to
find more lute
> music in staff notation, as I am not as good yet at reading lute
tablature. Do
> you or others have some good ideas for where I could find more music? I
> know Sollscher has arranged lots of music for his 11-string, but I
don't know if
> he has published it anywhere. Thanks for creating this group
> David A.

Hello and welcome.  For baroque lute tablatures and translations into
staff notation go to  http://perso.wanadoo.fr/jdf.luth/index.html and
download the files in zip format.

For some transcriptions for altgitarren of a wide range of works go to
http://www.performingarts.lu.se/forskning/publ/johnson_altgitarren.html
and order the book "Altgitarren" by sending an email to
reception@... and requesting it.  They will send it along
quickly and will include an invoice.  You can pay in US currency.

Hope this can get you started.

Robert


>

Hello Marion,
The Dalla  Casa book sounds interesting. I would be interested in the
tile and publisher.
Regards,
James.
On 21 Mar 2006, at 03:11, Marion Ceruti wrote:

> Hi David,
>
> I am in San Diego and I have both lutes and an 11-string Asturias.
> There is a group of lutenists in LA and also in San Fran. They have
> chat rooms like this one. If you are interested i can try to get
> you on
> the lists.
>
> Have you tried the Filippo Dalla Casa book of lute and mandolino
> music?
> It is in staff notation.
>
> best,
> Marion
>
> --- daethicist <dmadams@...> wrote:
>
>> Hello Christoffer,
>> I'm a guitarist living in California. I have two instruments: an
>> 11-string alto
>> guitar by Bolin (similar to the one played by Goran Sollscher), and a
>> 13-string
>> alto guitar that was built for me by Roger Stromberg in Sweden. I
>> play
>> baroque and Rennaisance lute music. I especially love the music of
>> Weiss, for
>> which the 13-string instrument is ideal. I would very much like to
>> find more lute
>> music in staff notation, as I am not as good yet at reading lute
>> tablature. Do
>> you or others have some good ideas for where I could find more music?
>> I
>> know Sollscher has arranged lots of music for his 11-string, but I
>> don't know if
>> he has published it anywhere. Thanks for creating this group
>> David A.
>>
>>
>>
>>
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>

Hello David,
In response to your request for music suitable for the alt guitar in
mensural notation, I have hand-written arrangements of eight or nine
pieces, predominantly, late 16th. / 17th. century, suitable for the
11s alt guitar in standard G-tuning. They are mostly about a page
long, though the arrangement of Bach's ,"Jesu Joy of Man's Desiring"
covers three pages. I assume, of course, that you are using your alt
guitar as a transposing instrument, i.e., find the frets as for a
standard tenor in E. If you would like copies, contact me with your
home address at:  <vector10@...> . There is no charge. I am
sorry to offer these as hand-written pieces, but my progress with G7,
the guitar / lute subset of "Sibelius", is making very little headway
due to competition with my other interests. If you wish to improve
sight-reading of renaissance tablature, if you look at group message
166, you will see that I mention a publication of some of de Visee's
works for theorbo nominally arranged for the arch-lute. However, the
tuning of the "arch-lute" is precisely that for alt guitar, i.e., the
third course is at B-flat rather than A. It is a straightforward
matter to transcribe these into standard notation. I will probably
get around to this sometime this year.
I am also a member of the 10s guitar group,Cathedral Guitar. com,
where you can find my article on multi-string guitars, "More than
Six, ...", and Janet Marlow's " International Ten String Guitar
Society".
Cheers,
James.
On 20 Mar 2006, at 01:56, daethicist wrote:

> Hello Christoffer,
> I'm a guitarist living in California. I have two instruments: an 11-
> string alto
> guitar by Bolin (similar to the one played by Goran Sollscher), and
> a 13-string
> alto guitar that was built for me by Roger Stromberg in Sweden. I play
> baroque and Rennaisance lute music. I especially love the music of
> Weiss, for
> which the 13-string instrument is ideal. I would very much like to
> find more lute
> music in staff notation, as I am not as good yet at reading lute
> tablature. Do
> you or others have some good ideas for where I could find more
> music? I
> know Sollscher has arranged lots of music for his 11-string, but I
> don't know if
> he has published it anywhere. Thanks for creating this group
> David A.
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
>

Hi David,

I am in San Diego and I have both lutes and an 11-string Asturias.
There is a group of lutenists in LA and also in San Fran. They have
chat rooms like this one. If you are interested i can try to get you on
the lists.

Have you tried the Filippo Dalla Casa book of lute and mandolino music?
It is in staff notation.

best,
Marion

--- daethicist <dmadams@...> wrote:

> Hello Christoffer,
> I'm a guitarist living in California. I have two instruments: an
> 11-string alto
> guitar by Bolin (similar to the one played by Goran Sollscher), and a
> 13-string
> alto guitar that was built for me by Roger Stromberg in Sweden. I
> play
> baroque and Rennaisance lute music. I especially love the music of
> Weiss, for
> which the 13-string instrument is ideal. I would very much like to
> find more lute
> music in staff notation, as I am not as good yet at reading lute
> tablature. Do
> you or others have some good ideas for where I could find more music?
> I
> know Sollscher has arranged lots of music for his 11-string, but I
> don't know if
> he has published it anywhere. Thanks for creating this group
> David A.
>
>
>
>


__________________________________________________
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Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com

Hello Christoffer,
I'm a guitarist living in California. I have two instruments: an 11-string alto
guitar by Bolin (similar to the one played by Goran Sollscher), and a 13-string
alto guitar that was built for me by Roger Stromberg in Sweden. I play
baroque and Rennaisance lute music. I especially love the music of Weiss, for
which the 13-string instrument is ideal. I would very much like to find more
lute
music in staff notation, as I am not as good yet at reading lute tablature. Do
you or others have some good ideas for where I could find more music? I
know Sollscher has arranged lots of music for his 11-string, but I don't know if
he has published it anywhere. Thanks for creating this group
David A.