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Ronn McFarlane - Contemporary Lute Virtuoso In this DVD performance, Ronn McFarlane plays a number of his own lute compositions a well as music of the 16th and 17th centuries. From the Middle Ages through the Age of Enlightenment, lutenists wrote and performed their own music along with the popular music of their time. By the end of the 18th century, this tradition was broken as the lute gradually fell out of favor. Reviving the centuries-old tradition of lutenist- composers, Ronn's work points the way to the lute's future. While treasuring the lute music of the past, he also creates new music for the 10-course lute, blending ancient and modern styles. Like many ancient works for the lute, his music treads the borderline between classical and popular music. The sum of his own musical exper

Books. The Aunt Lute Anthology of U.S. Women Writers: 20th Century

Suite in C major Suite in A major Suite in D major Zak Jerzy, lute booklet: Krzysztof Lipka (Polish, English) Total Time: 74'33"

Books. Jim Lutes

Free standard shipping on orders above $199. Guitar/vocal songbook for guitar and voice. With standard guitar notation, lute tablature and lyrics. Choral/Vocal. 144 pages. Published by Dover Publications. Transcribed for voice and guitar and edited by David Nadal. Unsurpassed in his day as a lute virtuoso, John Dowland (1563-1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar-all in an affordable, handsomely engraved edition that is both practical and scholarly.

Lute music was an important and prominent part of musical life in 18th century Germany yet, strangely, Bach wrote so little for the instrument. He knew several lutenists and heard them play; his friend Johann Christian Weyrauch was an amateur lutenist who lived in Leipzig; the lutenist and composer Adam Falkenhagen was also there; the greatest lutenist of the time, Sylvius Leopold Weiss was employed in nearby Dresden. We know that Bach visited his son Wilhem Freidmann in Dresden and went to a performance of Hasse's Opera Cleofide in which Weiss played. Weiss and Bach met at least once in an often cited occasion in around 1739, and probably at other times too. When Bach wrote for the lute he did not write new works especially for the instrument but reworked compositions of his that already existed in other forms. The lute suite in G minor BWV 995 is his transcription of his own 5th Suite for solo cello in C minor BWV 1011 (See Bach on the Lute CD, Vol. 4); the Partita in E major BWV 1006a (an autograph copy thought to be for the lute but without any indication of instrumentation) is a transcription from the last of the Sonatas and Partitas for violin solo (see Bach on the Lute CD, Vol. 2). The other pieces by Bach normally associated with the lute are more linked with Bach's fascination with the gut strung keyboard instrument the Lautenwerk or Lute-harpsichord on which one could play with keyboard technique and facility but produce a sound that resembled a lute. The works written for this instrument are the Suite in E minor BWV 996, the Suite in C minor BWV 997 and the Prelude, Fugue and Allegro (BWV 998). In another category, the Fugue in G minor BWV 1000 is a version, in lute tablature, of the fugue from the first Sonata in the set of Sonatas and Partitas for solo violin, the Sonata in G minor BWV 1001. This Fugue arrangement has remained in the catalogue of Bach's works but is, in fact, a lute transcription made by Weyrauch. We will never know if this was a secret of Weyraugh's of if Bach ever heard it. Of all these doubtful lute pieces the G minor Fugue BWV 1000/1001 and the G minor Suite BWV 995/1011 feel natural and satisfying to me to play on the lute; the others feel less like real lute pieces and are more awkward to play, even though I adore them as music. Instead of labouring over perpetuating the idea that the so-called lute pieces of Bach are proper lute pieces I prefer to take the works for unaccompanied Violin or Cello and make them into new works for lute, keeping (as much as possible) to the original text, musical intention, phrasing and articulation, yet transforming them in a way particular to the lute so that they are satisfying to play and to hear. This is my intention with the works recorded in this series Bach on the Lute. see Bach on the Lute volumes 1-4 to see playlists

This edition contains J.S. Bach's lute works arranged for guitar. Most of these works were for the lute or the lute- harpsichord, a keyed instrument with gut strings that could imitate the lute with its colorful sounds. The arranger has retained the structure and character of the originals as much as possible, based mainly on consultation of the original sources, and has attempted to emulate the clarity of Bach's own manuscripts. Where works required significant alteration to be playable on guitar, the questionable parts have been reconstructed to arrive at the best solution which is the closest to the original. Fingerings have been added only where necessary. Extensive notes on the arranging process are included. Notation only.

This instrument has great appeal to guitarists who enjoy playing early folk music and who like the idea of playing an instrument with a look and feel of the old times. Zachary Taylor is a designer and maker of early stringed instruments. Early in his career as a performer on classical guitar and lute he began to study the creation of representations of early instruments. In his relentless research from many sources he endeavours to acquire sufficient information for the construction of examples in the likeness of original instruments. For more than a quarter of a century he has taught the subject of lutherie in the Universities of Suffolk, England and Vigo, Spain and in colleges including West Dean, Missenden Abbey and York in England. Major projects include the re-construction of instruments that form the entrance arch to the Cathedral of Santiago de Compostela.His authorship includes many books, including 'Make and Play a Lute' and 'Making early stringed instruments'. It is Zachary Taylor's mission to design authentic examples of ancient instruments, accessible to enthusiasts who demand high quality without a high-price tag.Spruce is used for the unpolished soundboard in keeping with original lutes and its soundhole has a carved rose in an attractive geometric pattern. In keeping with the lute, the characteristicall y bowl-shaped body is achieved by edge-gluing together slats of thin wood bent to a specific shape with no internal structure to retain its form. The overall length is 953mm (37 1/2") and the scale length is 648mm (25 1/2"), similar to a normal guitar. Some may find the round back of the lute-guitar body less easy to hold than the flat-back guitar and that is why, at the bottom end of the instrument a peg has been fitted to permit the attachment of a strap to facilitate security whilst playing. With one end of the strap attached to the peg and the other end tied to the tuning head it is possibl

The Chinar Taylor lute has a Chinar body with a maple neck and rosewood finger board. The peg box is solid maple and the tuners are ebony. The soundboard is made out of European spruce with a rosewood bridge and rosewood end pin. There are six nylon frets and six rosewood frets. The nut width is 60 mm. The 7 and 8 course Renaissance lutes designed by Zachary Taylor are based on an instrument made by Hans Frei, the original of which may be seen in the Warwick Museum in England. This lute was made in Bologna about 1540 and since then may have been the subject of conversions to the stringing and the soundboard. Apart from shortening the string length from 670mm to 600, for ease of left-hand fingering, the instruments follow Hans Frei's principles of construction. About the designer/maker: Zachary Taylor is a designer and maker of early stringed instruments. Early in his career as a performer on classical guitar and lute he began to study the creation of representations of early instruments. In his relentless research he endeavours to acquire sufficient information for the construction of examples in the likeness of original instruments. For more than a quarter of a century he has taught the subject of lutherie in the Universities of Suffolk, England and Vigo, Spain and in Colleges including West Dean and Missenden Abbey in England. Major projects include the re-construction of instruments that form the entrance arch to the Cathedral of Santiago de Compostela. His authorship includes many books, including 'Make and Play a Lute' and 'Making early stringed instruments'.It is Zachary Taylor's mission to design authentic examples of ancient instruments, accessible to enthusiasts who demand high quality without a high-price tag.Included FREE: "The Ultimate Fretted Tuning Chart"This chart contains 87 tunings (47 for guitar) for various common and hard to find instruments. Th

Two tools in one...the scarifier-lute dual purpose tool is an all aluminum combination tool for scarifying, leveling, and removing loose granules. It is strong and sturdy, yet light enough to use all day. This tool is also excellent for spreading new ma

The Rosewood/Chinar varigated Taylor lute has a Rosewood/Chinar body with a rosewood neck and rosewood finger board. The peg box is solid chinar with rosewood veneer and the tuners are ebony. The soundboard is made out of European spruce with a rosewood bridge and rosewood end pin. There are six nylon frets and six rosewood frets. The nut width is 60 mm. The bowl has 5 chinar ribs and 6 rosewood ribs with a rosewood end cap.The 7 and 8 course Renaissance lutes designed by Zachary Taylor are based on an instrument made by Hans Frei, the original of which may be seen in the Warwick Museum in England. This lute was made in Bologna about 1540 and since then may have been the subject of conversions to the stringing and the soundboard. Apart from shortening the string length from 670mm to 600, for ease of left-hand fingering, the instruments follow Hans Frei's principles of construction. About the designer/maker: Zachary Taylor is a designer and maker of early stringed instruments. Early in his career as a performer on classical guitar and lute he began to study the creation of representations of early instruments. In his relentless research he endeavours to acquire sufficient information for the construction of examples in the likeness of original instruments. For more than a quarter of a century he has taught the subject of lutherie in the Universities of Suffolk, England and Vigo, Spain and in Colleges including West Dean and Missenden Abbey in England. Major projects include the re-construction of instruments that form the entrance arch to the Cathedral of Santiago de Compostela. His authorship includes many books, including 'Make and Play a Lute' and 'Making early stringed instruments'.It is Zachary Taylor's mission to design authentic examples of ancient instruments, accessible to enthusiasts who demand high quality without a high-price tag.Included FREE: "The Ultimate Fretted Tuning

The Rosewood Taylor lute has a Rosewood body with a rosewood neck and rosewood finger board. The peg box is solid rosewood and the tuners are ebony. The soundboard is made out of European spruce with a rosewood bridge and rosewood end pin. There are six nylon frets and six rosewood frets. The nut width is 67 mm.The 7 and 8 course Renaissance lutes designed by Zachary Taylor are based on an instrument made by Hans Frei, the original of which may be seen in the Warwick Museum in England. This lute was made in Bologna about 1540 and since then may have been the subject of conversions to the stringing and the soundboard. Apart from shortening the string length from 670mm to 600, for ease of left-hand fingering, the instruments follow Hans Frei's principles of construction. About the designer/maker: Zachary Taylor is a designer and maker of early stringed instruments. Early in his career as a performer on classical guitar and lute he began to study the creation of representations of early instruments. In his relentless research he endeavours to acquire sufficient information for the construction of examples in the likeness of original instruments. For more than a quarter of a century he has taught the subject of lutherie in the Universities of Suffolk, England and Vigo, Spain and in Colleges including West Dean and Missenden Abbey in England. Major projects include the re-construction of instruments that form the entrance arch to the Cathedral of Santiago de Compostela. His authorship includes many books, including 'Make and Play a Lute' and 'Making early stringed instruments'.It is Zachary Taylor's mission to design authentic examples of ancient instruments, accessible to enthusiasts who demand high quality without a high-price tag.Included FREE: "The Ultimate Fretted Tuning Chart"This chart contains 87 tunings (47 for guitar) for various common and hard to find instru

The Rosewood/Chinar varigated Taylor lute has a Rosewood/Chinar body with a rosewood neck and rosewood finger board. The peg box is solid chinar with rosewood veneer and the tuners are ebony. The soundboard is made out of European spruce with a rosewood bridge and rosewood end pin. There are six nylon frets and six rosewood frets. The nut width is 67 mm. The bowl has 5 chinar ribs and 6 rosewood ribs with a rosewood end cap.The 7 and 8 course Renaissance lutes designed by Zachary Taylor are based on an instrument made by Hans Frei, the original of which may be seen in the Warwick Museum in England. This lute was made in Bologna about 1540 and since then may have been the subject of conversions to the stringing and the soundboard. Apart from shortening the string length from 670mm to 600, for ease of left-hand fingering, the instruments follow Hans Frei's principles of construction. About the designer/maker: Zachary Taylor is a designer and maker of early stringed instruments. Early in his career as a performer on classical guitar and lute he began to study the creation of representations of early instruments. In his relentless research he endeavours to acquire sufficient information for the construction of examples in the likeness of original instruments. For more than a quarter of a century he has taught the subject of lutherie in the Universities of Suffolk, England and Vigo, Spain and in Colleges including West Dean and Missenden Abbey in England. Major projects include the re-construction of instruments that form the entrance arch to the Cathedral of Santiago de Compostela. His authorship includes many books, including 'Make and Play a Lute' and 'Making early stringed instruments'.It is Zachary Taylor's mission to design authentic examples of ancient instruments, accessible to enthusiasts who demand high quality without a high-price tag.Included FREE: "The Ultimate Fretted Tuning

Produced by Philip Hobbs Clara Sanabras - voice, baroque guitar, lute William Carter - lute, baroque guitar We were joined by some old friends from the Palladian Ensemble: Susanne Heinrich - viola da gamba Pamela Thorby - recorders and also the jazz group Field of Blue: Jaqueline Dankworth - voice Harvey Brough - Voice English folkmusic and the lute have been intimately bound up for as far back as anyone can determine and while solo lute music is filled with settings (some intricate, some simple) of folksongs and ballad tunes there are very few old vocal settings. There is a strong modern tradition (started by Alfred Deller) of performing folksongs to the lute in falsetto voice but why should countertenors have all the fun? Our idea was to look back to the 17th century when Charles II mistress Moll Davis' performance of "My lodging is on the cold ground" "raised her resting place from the cold ground to the royal bed" and Arabella Hunt sang Scots ballads with lute accompaniment to Queen Mary. We've made our own version of each song and in general have tried to keep the harmonies simple although some are more elaborate than others and sometimes the simplest harmonies have led to interesting results. The songs recorded here have come from a great variety of sources and we want to thank the staff at Cecil Sharp house (headquarters of the English Folksong Society) for their unfailing generosity and help. While some of the tunes came from crumbling library books others were learned in that most authentic folk method: off the radio and recordings. One song (I won't say which) was learned in a pub. But at the end of the day it doesn't much matter where exactly these songs are from; they come from everyone and belong to everyone as well. We only hope you will enjoy the listening as much as we did the recording. William Carter. London 2002 Tracklisting 1 The Magic Mist 4:26 2 Fear a' Bhata 4:18 3 The New Irish Girl 4:21 4 She Moved through the fair 2:54 5 The Three Ravens 3:52 6 Go From my Window 3:45 7 The Scoulding Woman 3:07 8 Green Bushes 2:55 9 The Green Fields of Gaothdobhair 3:44 10 Slan chun Carraig an Eide 3:34 11 My Lord of Deliam's Lamentation 4:27 12 An Cronan Muillach 2:45 13 I must live all alone 3:11 14 The Jug of Punch 3:40 15 Lord Rendal 3:36 16 Bonny Swete Boy / Robin 2:00 17 Adieu, Dundee 3:23 18 The good ship Planet / Blackbirds and Thrushes 3:29

Hummel Angel With Lute No Box - Angel Sitting Playing Lute

The 30 inch wide Asphalt Lute is perfect for smoothing out the asphalt to get a completely flat surface.

Lute Harp Strings. Origin Country: Pakistan. 0.3 lbs. Made by Mid-East.

Traditional pieced Master Lute, with flamed Maple back and finely grained Spruce face. Features a carved rosette soundhole, traditional bent peghead, and Rosewood fingerboard, pins and bridge. True, traditional design gut frets with nylon strings. Includes a very sturdy, well made hardshell case. Model LUT346/15 offers 15 strings in 8 courses, with common tunings of D,F,G,C,F,A,C, D-or-C,F,G,C,F,A,D , G-or-C,D,G,C,F,A,D , G.

Hummel Joyous News/Angel With Lute No Box - Angel W/Lute, Angel Trio Candleholder

Hummel Joyous News/Angel With Lute No Box - Angel W/Lute, Angel Trio Candleholder