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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
The Working Methods of Guarneri Del Gesů and Their Influence Upon His
45 The Working Methods of Guarneri del Gesù and their Influence upon his Stylistic Development Text and Illustrations by Roger Graham Hargrave Please take time to read this warning! Although the greatest care has been taken while compiling this site it almost certainly contains many mistakes. As such its contents should be treated with extreme caution. Neither I nor my fellow contributors can accept responsibility for any losses resulting from information or opin - ions, new or old, which are reproduced here. Some of the ideas and information have already been superseded by subsequent research and de - velopment. (I have attempted to included a bibliography for further information on such pieces) In spite of this I believe that these articles are still of considerable use. For copyright or other practical reasons it has not been possible to reproduce all the illustrations. I have included the text for the series of posters that I created for the Strad magazine. While these posters are all still available, with one exception, they have been reproduced without the original accompanying text. The Labels mentions an early form of Del Gesù label, 98 later re - jected by the Hills as spurious. 99 The strongest evi - Before closing the body of the instrument, Del dence for its existence is found in the earlier Gesù fixed his label on the inside of the back, beneath notebooks of Count Cozio Di Salabue, who mentions the bass soundhole and roughly parallel to the centre four violins by the younger Giuseppe, all labelled and line. The labels which remain in their original posi - dated, from the period 1727 to 1730. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
Open Model Specification Sheet As
Model name: A-48 Archive of guitar models Guitar type: 6-string Body shape: Auditorium Top: AAA Engleman spruce Back & Sides: Macassar ebony (Style 48) Neck: Cedro Soundhole rosette: Premium Design with two woods and abalone purfling Headstock: Slotted headstock Headstock veneer: Ebony Body bindings: Yew Headstock bindings: Yew Fingerboard bindings: Yew Body purfling: Abalone purfling on soundboard Fingerboard: Ebony Headstock inlays: White MOP Lakewood logo Fingerboard inlays: none Heel cap: Ebony Nut: Bone Neck width at nut: 46 mm (1.81 inch) Neck width at body-neck-joint: 57 mm (2.24 inch) Neck thickness: 21mm to 23mm (0.83 to 0.91 inch) Neck profile: C-shape Body-neck-joint: at 12th fret Scale length: 650 mm (25.6 inch) Frets: 19 frets Bridge: Ebony Bridge saddle: Bone String spacing at bridge: 57mm (2.24 inch) Bridge pins: Ebony with pearl dot Tuners: Schaller old style gold Tuner buttons: Gold Body finish: High-gloss finish Neck finish: Satin-gloss, filled grain End pin: Lakewood end pin (matching bridge pins) Strings: Elixir Nanoweb Phosphorbronze .012 - .053 (light) Case: Hiscox Lakewood hard case Recommended retail price: $ 0 incl. 0.0% VAT You've had a Lakewood guitar for a long time and now you cannot find it within our guitar range? Maybe you are luckier here. This is a list of older guitar models that have been taken out of the series program. Most of them are still available via our customshop. This Guitar was part of the Premium range from 2005 until 2006. Specification sheet A-48 - Copyright 2021 by Lakewood Guitars. -
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT MUSICMAKER’S KITS, INC PO Box 2117 Stillwater, MN 55082 651-439-9120 harpkit.comcom WOOD PARTS: DAKOTA OCTAVE MANDOLIN KIT A - Neck B - Fretboard C - Heel Block Z R D - Tail Block E - 2 Heel Ribs F - 2 Side Ribs G - 2 Tail Ribs A P H - 4 Corner Blocks I B I - Back Panel J - 3 Cross-Braces for Back K - 2 Flat Braces for Back L L - Front (Soundboard) N M - 10 Braces for Front (Soundboard) O N - 6 Inner Kerfing Strips O - Bridge (with Saddle & 8 pegs) X V P - Bridge Clamp, w/4 machine screws, 2 washers, 2 wing nuts U Q - Bridge Plate E T R - 4 Clamping Wedges C E S - Spacer Block T - 6 Binding Strips, walnut HH U - Heel Cap Y V - Truss Rod Cover (with 3 screws) F F HARDWARE: S K J M W - 48 Inches Fretwire X - 1 White Side Marker Rod 5/64”” X 2” Y - 8 Black Geared Tuners H H w/8 sleeves, 8 washers & 8 tiny screws Z - Double Truss Rod, with allen wrench 8 - Pearl Marking Dots, 1/4” dia. Q 1 - Heavy Fretwire, 2” long, for #0 fret G G 1 - Set of 8 Strings D 1 - Black Wood Nut Fig 1 W 1 - Hex Bolt, 1/4” X 2”, with washer 2 - Tiny Nails If you have any questions about the assembly of your 1 - Drill Bit, 1/16” for tiny screws 1 - Drill Bit, 5/64” for Side Markers kit - please visit our online Builder’s Forum 1 - Drill Bit, 3/16” for bridge www.harpkit.com/forum Assembly Instructions A NOTE ABOUT GLUE We recommend assembling this kit with standard woodworker’s glue (such as Elmer’s Carpenters Glue or Titebond Wood Glue). -
1002775354-Alcorn.Pdf
3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin....... -
Fine Musical Instruments
2018 ND OMPANY 22 NSTRUMENTS C I & CTOBER , O ONDAY USICAL ESTENBAUM M K M INE . F KESTENBAUM & COMPANY FINE MUSICAL INSTRUMENTS • MONDAY, OCTOBER 22ND, 2018 t K ESTENBAUM & COMPANY ! . Auctioneers of Rare Books, Collectibles and Fine Art Lot 7 Catalogue of FINE MUSICAL INSTRUMENTS . To be Offered for Sale by Auction Monday, 22nd October, 2018 at 1:00 pm precisely ❧ Viewing Beforehand: Wednesday, 17th October - 10:00 am - 6:00 pm Thursday, 18th October - 10:00 am - 6:00 pm Friday, 19th October - 10:00 am - 3:00 pm Saturday, 20th October - NO VIEWING AVAILABLE Sunday, 21st October - 10:00 am - 7:00 pm No Viewing on the Day of Sale ❧ This Sale may be referred to as: “Adam” Sale Number Seventy-Eight Illustrated Catalogues: $40 (US) * $50 (Overseas) KESTENBAUM & COMPANY . 242 West 30th Street, 12th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K ESTENBAUM & COMPANY! . Chairman: Daniel E. Kestenbaum Operations Manager: Zushye L.J. Kestenbaum Client Relations: Sandra E. Rapoport, Esq. Fine Musical Instruments (Specialist): David Bonsey Fine Musical Instruments (Administrator): Adam Rosenbaum Judaica & Hebraica: Rabbi Eliezer Katzman Rabbi Dovid Kamenetsky (consultant) Auctioneer: Mark O. Howald (NYCDCA license no. 1460490) Israel Office: Massye H. Kestenbaum (Tel Aviv) ❧ Front Cover Illustration: See Lot 98 Back Cover Illustration: See Lot 37 List of prices realized will be posted on our website following the sale www.kestenbaum.net — FOREWORD — fter nearly 25 years focusing upon auctions of Rare Books, Manuscripts and Judaica, Kestenbaum & Company is delighted to A present our inaugural auction of Fine Musical Instruments. -
Acoustic Guitar Catalog Jean Larrivée Guitars USA Inc
Jean Larrivée Guitars USA Inc. Acoustic Guitar Catalog www.larrivee.com | Email: [email protected] 1070 Yarnell Place Oxnard, CA USA 93033-2454 Jean Larrivée Guitars USA Inc. Larrivée Custom Shop For over 50 years, Larrivée has been searching the globe and sourcing the finest materials available for our guitars. It is the best of the best that ends up on our custom shop series. Whether it’s our topline 72 Presentation model or a complete custom build, our world-class craftsmanship results in a peerless instrument of extraordinary sound and beauty. Your imagination is our limit. For a full list of custom options and inlays, please see our custom option price list found on our website and visit our inlay section. Jean Larrivée Guitars USA Inc. 03 Recording Series We build our 03 Recording Series using only all-solid Indian Rosewood or African Khaya Mahogany. Just like our top-end models, this series features our hand-fit dovetail neck joint for superior fit and sustain. Available in satin finish and all body styles, the 03 Series is our most versatile line played by pros and beginners alike. Whether it’s front stage at the coliseum, local jam night at the pub, or just picking & grinning on the couch, this is a series built for all players. SPECS INCLUDE • Rosewood or Mahogany • Sitka Spruce Top • Mahogany Neck • Ebony Fingerboard & Bridge • Satin Finish • Herringbone Rosette • Maple Trim • Available In All Body Styles Jean Larrivée Guitars USA Inc. 40 Legacy Series The 40 Series features our revolutionized parabolic hybrid bracing combination. Utilizing non- symmetrical scalloped lateral cross-bracing, the 40 Series allows even further vibration of the soundboard, resulting in a much greater dynamic and controlled bass response. -
Stentor Orchestral Stringed Instruments
Stentor Orchestral Stringed Instruments Est. 1895 t Stentor we strongly believe that each child should have an opportunity to play a musical instrument and that music should be a part of everyone's A development throughout their life. We consider that all students should have access to musical instruments that are easily playable and responsive in sound. The instruments must be available at a reasonable cost so that all those who wish to learn to play are able to do so. We have worked over many years with teachers and educationalists to achieve these goals. Michael C. Doughty Managing Director The Stentor Student II Violin Outfit has won the Music Industries Association (MIA) award for the Best Bowed Instrument more than 20 times. The MIA is the UK trade association of the musical products industry and its awards are voted for by the membership. 1 Our history Our brand tentor has been known to orchestral stringed instrument he Stentor name is known for quality, consistency and players and teachers for more than 100 years. According reliability. Stentor violins, violas, cellos and basses lead to Greek mythology, Stentor was a herald with the students from their very first lesson up to professional S voice and volume of "one hundred other men together". T level. At Stentor, we recognise that the most important Edward C. Doughty, a Professor of Music and teacher of the violin, instrument for any musician is the one they start on and we are registered the name ‘Stentor’ in 1895 for gut violin strings and rosin. committed to provide the quality and affordability to ensure that players have the most enjoyable and rewarding experience. -
The Newsletter of Readifolk
The Newsletter of Rea difolk Reading's folk song and music club nights inside this edition of Notes. It is heartening that so many of them are enthusiastic and positive, and it helps us to get a clear idea of what sort of guests you like, as well as letting others know why they should come along to a Readifolk evening. The programme for the next quarter is on the back page and you will see that we again have an excellent array of talent lined up for you. , Alison McNamara has set up a Readifolk Facebook page and a Twitter news stream. To see our Facebook page, you can find it via the TinyURL of – and what an www.tinyurl.com/readifolk, or just type "Readifolk" or "Reading folk eventful start to 2010 we have had. club" into the Facebook search bar. It was unfortunate that, because Reading was snowbound, we had This gives Facebook members a chance to keep up-to-date with to cancel the first guest night of the year on 10th January. David events at Readifolk, browse information about performers and Ferrard, who was due to appear, has agreed provisionally to a other folk clubs in the area, folk music resources on the web and return visit in December. Fingers crossed. anything else that interests you, exchange your own news and views and share links, photos and videos. Despite being the coldest Winter for several decades there was always a warm welcome at Readifolk and our attendances held up For those who are unfamiliar with Facebook, visit really well, so thanks to all you loyal supporters.