Hi everyone--I have four new lutes to present to you today. You may have already seen pics of these that I posted a month or two ago on Facebook. If that's the case, and I've dragged you here under false pretences by calling this post "Recent Work," well, I'm sorry--you're free to go. However, if you're not in too big a hurry, by all means stick around and I'll try to add a few comments, to make the visit worth your while. I started this group of four in late 2017, hoping to have them finished before the summer of 2018, which I knew was going to be a busy one. I didn't quite get them all done before summer, but instead finished them one at a time, in June, July, and August. I'll present them here in the chronological order of their completion. I always work in groups, usually two or three. I think that there are some efficiencies to be gained by doing the same or similar jobs across a number of instruments (carving roses, making necks, putting backs together, etc.) Once you've taken the time to set up your tools to do a job once, you might as well do it two or three three times and make it worth your while. At least that's the theory.... After working this way a number of times I still think it's true, but there is a limit to how many instruments a person can work on without something like boredom setting in. Four lutes might be the limit for me. Progress in the shop can seem slow at the best of times, but working on a large group means progress often seems to come in very tiny increments. You need to be okay with going into the shop each day and being greeted by a bunch of lutes that don't look like they've moved along very much in quite a while. (I keep expecting the Lute Elves to show up overnight or over the weekend and, say, finish carving the bridges I left half-done for them, but alas they never do....) Luckily, I'm a patient person--I think that's probably very high on the list of qualifications for being a lute maker. And, thankfully, I have clients who are very patient people too. The first lute of the group, finished in late June, was a new model for me: a 6 course with a string length of 54cm, in modern pitch a', for George Moss of Kansas City, MO. It's from a design by Grant Tomlinson, which he based on early-16th century Italian models. I actually built this lute using Grant's mold, which he lent to me; he also sold me the lovely set of German maple ribs for the back, which, according to his notes, he'd sawn in 1982. (I asked him if he'd care to come over to my shop and build the lute for me too, but sadly he declined.) It made a lovely little lute with a very sweet, rich, balanced sound. In my experience, lutes in a' don't generally have a problem making their treble register heard--indeed, they can be a bit overbearing. Not this one, though. I was a little surprised--and pleased--at the presence and warmth of the basses, and in general the balance of sound throughout the register. To me, it sounded not so much like an a' lute, but instead like a really good 6 course lute that just happened to be tuned in a' (if you get what I mean.) Mug shots front and back: the neck, fingerboard and peg box are pear, and the bridge and tuning pegs are plum. The back, as I said, is of German maple, and the belly is one of my finest pieces of alpine spruce. The fingerboard edging is snakewood. As usual, I supplied a number of possible rose designs to my client, and George decided to go with a pattern from a baroque lute--an 11 course, I believe--by Martinus Kaiser (I don't have the date of that lute to hand just now.) As with so many old lute rose patterns, this one works a variation of the Star of David, with twisting vines and leaves contrasting with the geometric basis. This lute was finished in time for me to hand-deliver it to George at the Lute Society of America LuteFest in Cleveland at the end of June. He liked it! I was pleased. Then after the week of lute festivities I returned to Canada to do a little repair work, which you can read about here; then met up with my darling wife Julia for a holiday trip that included stops in Montreal, eastern Ontario, Vermont, New Hampshire, and Rhode Island. Lakes, rivers and oceans were swum in, rare liquors tasted, fine cuisines sampled, and old friends, and new friends, were met. By late July, we were back in Vancouver--and I was back in the workshop, rested, and eager to finish up the next lute. This one was another new model for me: a 'théorbe de pièces,' or 'Lesser French Theorbo,' for Bruce Burchmore of Los Angeles, CA. This project was a lot of fun, and a real challenge. There are so many interesting features to this instrument, and much of its design had to be done pretty much from scratch. I had no museum drawing to work from, and really not much expertise to go on to get me started. I didn't know the instrument, and I didn't know the repertoire. I did a lot of learning along the way, from a whole bunch of teachers and advisers, starting with the very patient Bruce Burchmore, and including Grant Tomlinson, Ray Nurse, and my old friend Nelson Amos. I think there's a tale here, and I'll tell it in my next blog post. Some data: the top string is in d (A=392), and the top two strings are re-entrant (i.e., an octave low.) The string length to the first nut is 72cm, and to the extension 114. There are 14 strings, 8 to the first peg box, and 6 to the extension. The fingerboard, belly edge binding and neck veneer are ebony; and the extension is made of two pieces of English sycamore, dyed black. The belly, as always, is one of my finest sets of European alpine spruce; and the back of the lute is 11 ribs of curly maple. The rose pattern I used is known as the 'Mouton,' since it is taken from the famous painting of the lutenist Charles Mouton by François de Troy. This version of the pattern was drawn by Ray Nurse. Perhaps the most striking feature of this type of lute is its extension, which basically consists of a plank of wood with a cutout for a carved panel at the back of the lower peg box, and a second peg box carved from a separate block of wood, attached to the far end of the plank. I've made lutes with extended necks before, but nothing quite like this. I think it's a really cool design, and aesthetically it seems totally of a piece with the refinement of the music that's played on the lute. I found this lute compulsively photographable. (If you'd like to see further evidence of the compulsion, please go to my flickr page.) Most lutes are like a little world unto themselves, and some of them, like this one, seem incredibly vast. They will not be captured by a single photo, or even a hundred. But I try! OK--next lute. We're now into mid-August: Julia and I are back from a short trip to the interior of BC, where we holidayed with my mom and sister, who had driven out from Saskatchewan. The lakes and rivers of the BC interior are beautiful, and we swam in them daily. The air, however, was thick with smoke from wildfires; a new reality, a constant companion in the summers. Back to the coast, where the air is (relatively) clear. This lute is not a new model--it is a 10 course lute based on the body of the Tieffenbrucher archlute, C45 in the Vienna KHM, which I've scaled down to 95% of the original. (The back is 17 ribs of dark, heartwood pacific yew.) I have built a number of 10 course lutes on this model, along with a few 7 and 8 course as well, and all of them have been very successful. Reducing slightly the original size of the body allows a string length of 64 cm (while retaining 9 tied frets) which is a convenient length for stringing in g', either in modern or low pitch. For this lute, my client, Mark Bagley, of Madison, MS, asked me to try to come up with a design that reduced the string length as much as possible, while still tying 9 frets easily. A little squeezing here and there--shortening the neck a little, raising the bridge position just a few millimeters (and correspondingly adjusting the location of soundboard bars and, in consequence, the position of the rose)--gave a string length of 62 cm. A very manageable length for a 10 course lute! One thing that was different about this lute was the suite of veneers that I made for the neck and peg box. Mark had asked for a special look for this lute, so I suggested a design based on the 1609 Magno Dieffopruchar lute, 144 in the Museo Bardini in Florence. Here's what the original looks like (photos by Stephen Gottlieb, courtesy of Grant Tomlinson): And here are some shots of my version. The veneers on the Dieffopruchar are made up of strips of ebony and ivory; my version is made of ebony and english boxwood. Once again, if you'd like to see more photos of this lute, head to my flickr page. I'm kicking myself a bit because I didn't take any (or not many) photos of my process of making these veneers. It is a fairly involved, and time-consuming, procedure to make them, and I would have liked to write a blog post detailing the steps.... Oh, well, I'll save it for next time: I'll be doing another set of veneers like this within the next couple of years, so I'll try to remember to take lots of pics and talk about it then. The rose on this lute is based on the 'knot of Leonardo' design, with a chip-carved border. And now, onto the last lute of the bunch. By this time we're at the end of August (the holidays are done, though we're still taking some last-minute swims in the ocean in Vancouver), and I am finishing this, a 7 course lute based on the 1592 Venere. The string length is 58.5 cm, and the back is of 13 ribs of dark heartwood yew, with sycamore spacers. I had originally begun this lute as a demonstration model for the lute making class at the 2017 LSA Workshop West, in Victoria BC; it wasn't made to order for anyone, but I decided to complete it as part of this batch, and see if someone might be interested. Someone was: a fellow who works in the video game industry here in Vancouver got in touch, and I completed it for him at the end of the month. The neck and peg box are made of some nicely figured cherry I picked up a few years ago. For an unveneered instrument like this, I might ordinarily use pear for the neck and peg box, but I was very happy with the look, feel and weight of the cherry. (It's nice to have a 'spec' instrument once in a while to try out some different woods). The lute itself sounds great, full and rich, with a nice singing treble and lovely bass sound. I really need to make myself one of these lutes one of these years. The rose is based on that of the original 1592 Venere lute. And that is all for recent work. Next post, I will talk about the process of designing and building the 'théorbe de pièces.' I'm onto new projects now: two lutes only this time. Hopefully they'll go reasonably quickly. I'll tell you about them soon!

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Hi everyone--I have four new lutes to present to you today. You may have already seen pics of these that I posted a month or two ago on Facebook. If that's the case, and I've dragged you here under false pretences by calling this post "Recent Work," well, I'm sorry--you're free to go. However, if you're not in too big a hurry, by all means stick around and I'll try to add a few comments, to make the visit worth your while. I started this group of four in late 2017, hoping to have them finished before the summer of 2018, which I knew was going to be a busy one. I didn't quite get them all done before summer, but instead finished them one at a time, in June, July, and August. I'll present them here in the chronological order of their completion. I always work in groups, usually two or three. I think that there are some efficiencies to be gained by doing the same or similar jobs across a number of instruments (carving roses, making necks, putting backs together, etc.) Once you've taken the time to set up your tools to do a job once, you might as well do it two or three three times and make it worth your while. At least that's the theory.... After working this way a number of times I still think it's true, but there is a limit to how many instruments a person can work on without something like boredom setting in. Four lutes might be the limit for me. Progress in the shop can seem slow at the best of times, but working on a large group means progress often seems to come in very tiny increments. You need to be okay with going into the shop each day and being greeted by a bunch of lutes that don't look like they've moved along very much in quite a while. (I keep expecting the Lute Elves to show up overnight or over the weekend and, say, finish carving the bridges I left half-done for them, but alas they never do....) Luckily, I'm a patient person--I think that's probably very high on the list of qualifications for being a lute maker. And, thankfully, I have clients who are very patient people too. The first lute of the group, finished in late June, was a new model for me: a 6 course with a string length of 54cm, in modern pitch a', for George Moss of Kansas City, MO. It's from a design by Grant Tomlinson, which he based on early-16th century Italian models. I actually built this lute using Grant's mold, which he lent to me; he also sold me the lovely set of German maple ribs for the back, which, according to his notes, he'd sawn in 1982. (I asked him if he'd care to come over to my shop and build the lute for me too, but sadly he declined.) It made a lovely little lute with a very sweet, rich, balanced sound. In my experience, lutes in a' don't generally have a problem making their treble register heard--indeed, they can be a bit overbearing. Not this one, though. I was a little surprised--and pleased--at the presence and warmth of the basses, and in general the balance of sound throughout the register. To me, it sounded not so much like an a' lute, but instead like a really good 6 course lute that just happened to be tuned in a' (if you get what I mean.) Mug shots front and back: the neck, fingerboard and peg box are pear, and the bridge and tuning pegs are plum. The back, as I said, is of German maple, and the belly is one of my finest pieces of alpine spruce. The fingerboard edging is snakewood. As usual, I supplied a number of possible rose designs to my client, and George decided to go with a pattern from a baroque lute--an 11 course, I believe--by Martinus Kaiser (I don't have the date of that lute to hand just now.) As with so many old lute rose patterns, this one works a variation of the Star of David, with twisting vines and leaves contrasting with the geometric basis. This lute was finished in time for me to hand-deliver it to George at the Lute Society of America LuteFest in Cleveland at the end of June. He liked it! I was pleased. Then after the week of lute festivities I returned to Canada to do a little repair work, which you can read about here; then met up with my darling wife Julia for a holiday trip that included stops in Montreal, eastern Ontario, Vermont, New Hampshire, and Rhode Island. Lakes, rivers and oceans were swum in, rare liquors tasted, fine cuisines sampled, and old friends, and new friends, were met. By late July, we were back in Vancouver--and I was back in the workshop, rested, and eager to finish up the next lute. This one was another new model for me: a 'théorbe de pièces,' or 'Lesser French Theorbo,' for Bruce Burchmore of Los Angeles, CA. This project was a lot of fun, and a real challenge. There are so many interesting features to this instrument, and much of its design had to be done pretty much from scratch. I had no museum drawing to work from, and really not much expertise to go on to get me started. I didn't know the instrument, and I didn't know the repertoire. I did a lot of learning along the way, from a whole bunch of teachers and advisers, starting with the very patient Bruce Burchmore, and including Grant Tomlinson, Ray Nurse, and my old friend Nelson Amos. I think there's a tale here, and I'll tell it in my next blog post. Some data: the top string is in d (A=392), and the top two strings are re-entrant (i.e., an octave low.) The string length to the first nut is 72cm, and to the extension 114. There are 14 strings, 8 to the first peg box, and 6 to the extension. The fingerboard, belly edge binding and neck veneer are ebony; and the extension is made of two pieces of English sycamore, dyed black. The belly, as always, is one of my finest sets of European alpine spruce; and the back of the lute is 11 ribs of curly maple. The rose pattern I used is known as the 'Mouton,' since it is taken from the famous painting of the lutenist Charles Mouton by François de Troy. This version of the pattern was drawn by Ray Nurse. Perhaps the most striking feature of this type of lute is its extension, which basically consists of a plank of wood with a cutout for a carved panel at the back of the lower peg box, and a second peg box carved from a separate block of wood, attached to the far end of the plank. I've made lutes with extended necks before, but nothing quite like this. I think it's a really cool design, and aesthetically it seems totally of a piece with the refinement of the music that's played on the lute. I found this lute compulsively photographable. (If you'd like to see further evidence of the compulsion, please go to my flickr page.) Most lutes are like a little world unto themselves, and some of them, like this one, seem incredibly vast. They will not be captured by a single photo, or even a hundred. But I try! OK--next lute. We're now into mid-August: Julia and I are back from a short trip to the interior of BC, where we holidayed with my mom and sister, who had driven out from Saskatchewan. The lakes and rivers of the BC interior are beautiful, and we swam in them daily. The air, however, was thick with smoke from wildfires; a new reality, a constant companion in the summers. Back to the coast, where the air is (relatively) clear. This lute is not a new model--it is a 10 course lute based on the body of the Tieffenbrucher archlute, C45 in the Vienna KHM, which I've scaled down to 95% of the original. (The back is 17 ribs of dark, heartwood pacific yew.) I have built a number of 10 course lutes on this model, along with a few 7 and 8 course as well, and all of them have been very successful. Reducing slightly the original size of the body allows a string length of 64 cm (while retaining 9 tied frets) which is a convenient length for stringing in g', either in modern or low pitch. For this lute, my client, Mark Bagley, of Madison, MS, asked me to try to come up with a design that reduced the string length as much as possible, while still tying 9 frets easily. A little squeezing here and there--shortening the neck a little, raising the bridge position just a few millimeters (and correspondingly adjusting the location of soundboard bars and, in consequence, the position of the rose)--gave a string length of 62 cm. A very manageable length for a 10 course lute! One thing that was different about this lute was the suite of veneers that I made for the neck and peg box. Mark had asked for a special look for this lute, so I suggested a design based on the 1609 Magno Dieffopruchar lute, 144 in the Museo Bardini in Florence. Here's what the original looks like (photos by Stephen Gottlieb, courtesy of Grant Tomlinson): And here are some shots of my version. The veneers on the Dieffopruchar are made up of strips of ebony and ivory; my version is made of ebony and english boxwood. Once again, if you'd like to see more photos of this lute, head to my flickr page. I'm kicking myself a bit because I didn't take any (or not many) photos of my process of making these veneers. It is a fairly involved, and time-consuming, procedure to make them, and I would have liked to write a blog post detailing the steps.... Oh, well, I'll save it for next time: I'll be doing another set of veneers like this within the next couple of years, so I'll try to remember to take lots of pics and talk about it then. The rose on this lute is based on the 'knot of Leonardo' design, with a chip-carved border. And now, onto the last lute of the bunch. By this time we're at the end of August (the holidays are done, though we're still taking some last-minute swims in the ocean in Vancouver), and I am finishing this, a 7 course lute based on the 1592 Venere. The string length is 58.5 cm, and the back is of 13 ribs of dark heartwood yew, with sycamore spacers. I had originally begun this lute as a demonstration model for the lute making class at the 2017 LSA Workshop West, in Victoria BC; it wasn't made to order for anyone, but I decided to complete it as part of this batch, and see if someone might be interested. Someone was: a fellow who works in the video game industry here in Vancouver got in touch, and I completed it for him at the end of the month. The neck and peg box are made of some nicely figured cherry I picked up a few years ago. For an unveneered instrument like this, I might ordinarily use pear for the neck and peg box, but I was very happy with the look, feel and weight of the cherry. (It's nice to have a 'spec' instrument once in a while to try out some different woods). The lute itself sounds great, full and rich, with a nice singing treble and lovely bass sound. I really need to make myself one of these lutes one of these years. The rose is based on that of the original 1592 Venere lute. And that is all for recent work. Next post, I will talk about the process of designing and building the 'théorbe de pièces.' I'm onto new projects now: two lutes only this time. Hopefully they'll go reasonably quickly. I'll tell you about them soon!

Det här ska bli så roligt! Åh, vad jag är glad och tacksam över hur min romantiska rosenpläd med vintagekänsla – Vintage Rose, mottagits på ett så fantastiskt sätt och att så många vill vara …

The walking stick attaches to the protrusion on the bottom

Фото, автор mediona.mediona на Яндекс.Фотках

Круглый белый торт, по боковой стороне которой идут широкие белые полосы, а сверху группами по три или две черные – определенно, это изображение клавиш пианино или фортепиано. На белой поверхности торта лежит красная роза, некоторые лепестки с которой отлетели далеко в стороны. Рядом с розой лежат наушники: серебристая вертикальная дужка двумя линиями соединяет две чашечки наушников, серебристые снаружи и черные внутри. Судя по всему, это полноразмерные наушники (чаще называемые "лопухами"). От места соединения одной из чашечек и дужки идет небольшой черный провод, заканчивающийся серебристым отрезком – видимо, разъемом. В одном торте музыка – в виде клавиш живого инструмента и наушников для прослушивания записанного.

Hi everyone--I have four new lutes to present to you today. You may have already seen pics of these that I posted a month or two ago on Facebook. If that's the case, and I've dragged you here under false pretences by calling this post "Recent Work," well, I'm sorry--you're free to go. However, if you're not in too big a hurry, by all means stick around and I'll try to add a few comments, to make the visit worth your while. I started this group of four in late 2017, hoping to have them finished before the summer of 2018, which I knew was going to be a busy one. I didn't quite get them all done before summer, but instead finished them one at a time, in June, July, and August. I'll present them here in the chronological order of their completion. I always work in groups, usually two or three. I think that there are some efficiencies to be gained by doing the same or similar jobs across a number of instruments (carving roses, making necks, putting backs together, etc.) Once you've taken the time to set up your tools to do a job once, you might as well do it two or three three times and make it worth your while. At least that's the theory.... After working this way a number of times I still think it's true, but there is a limit to how many instruments a person can work on without something like boredom setting in. Four lutes might be the limit for me. Progress in the shop can seem slow at the best of times, but working on a large group means progress often seems to come in very tiny increments. You need to be okay with going into the shop each day and being greeted by a bunch of lutes that don't look like they've moved along very much in quite a while. (I keep expecting the Lute Elves to show up overnight or over the weekend and, say, finish carving the bridges I left half-done for them, but alas they never do....) Luckily, I'm a patient person--I think that's probably very high on the list of qualifications for being a lute maker. And, thankfully, I have clients who are very patient people too. The first lute of the group, finished in late June, was a new model for me: a 6 course with a string length of 54cm, in modern pitch a', for George Moss of Kansas City, MO. It's from a design by Grant Tomlinson, which he based on early-16th century Italian models. I actually built this lute using Grant's mold, which he lent to me; he also sold me the lovely set of German maple ribs for the back, which, according to his notes, he'd sawn in 1982. (I asked him if he'd care to come over to my shop and build the lute for me too, but sadly he declined.) It made a lovely little lute with a very sweet, rich, balanced sound. In my experience, lutes in a' don't generally have a problem making their treble register heard--indeed, they can be a bit overbearing. Not this one, though. I was a little surprised--and pleased--at the presence and warmth of the basses, and in general the balance of sound throughout the register. To me, it sounded not so much like an a' lute, but instead like a really good 6 course lute that just happened to be tuned in a' (if you get what I mean.) Mug shots front and back: the neck, fingerboard and peg box are pear, and the bridge and tuning pegs are plum. The back, as I said, is of German maple, and the belly is one of my finest pieces of alpine spruce. The fingerboard edging is snakewood. As usual, I supplied a number of possible rose designs to my client, and George decided to go with a pattern from a baroque lute--an 11 course, I believe--by Martinus Kaiser (I don't have the date of that lute to hand just now.) As with so many old lute rose patterns, this one works a variation of the Star of David, with twisting vines and leaves contrasting with the geometric basis. This lute was finished in time for me to hand-deliver it to George at the Lute Society of America LuteFest in Cleveland at the end of June. He liked it! I was pleased. Then after the week of lute festivities I returned to Canada to do a little repair work, which you can read about here; then met up with my darling wife Julia for a holiday trip that included stops in Montreal, eastern Ontario, Vermont, New Hampshire, and Rhode Island. Lakes, rivers and oceans were swum in, rare liquors tasted, fine cuisines sampled, and old friends, and new friends, were met. By late July, we were back in Vancouver--and I was back in the workshop, rested, and eager to finish up the next lute. This one was another new model for me: a 'théorbe de pièces,' or 'Lesser French Theorbo,' for Bruce Burchmore of Los Angeles, CA. This project was a lot of fun, and a real challenge. There are so many interesting features to this instrument, and much of its design had to be done pretty much from scratch. I had no museum drawing to work from, and really not much expertise to go on to get me started. I didn't know the instrument, and I didn't know the repertoire. I did a lot of learning along the way, from a whole bunch of teachers and advisers, starting with the very patient Bruce Burchmore, and including Grant Tomlinson, Ray Nurse, and my old friend Nelson Amos. I think there's a tale here, and I'll tell it in my next blog post. Some data: the top string is in d (A=392), and the top two strings are re-entrant (i.e., an octave low.) The string length to the first nut is 72cm, and to the extension 114. There are 14 strings, 8 to the first peg box, and 6 to the extension. The fingerboard, belly edge binding and neck veneer are ebony; and the extension is made of two pieces of English sycamore, dyed black. The belly, as always, is one of my finest sets of European alpine spruce; and the back of the lute is 11 ribs of curly maple. The rose pattern I used is known as the 'Mouton,' since it is taken from the famous painting of the lutenist Charles Mouton by François de Troy. This version of the pattern was drawn by Ray Nurse. Perhaps the most striking feature of this type of lute is its extension, which basically consists of a plank of wood with a cutout for a carved panel at the back of the lower peg box, and a second peg box carved from a separate block of wood, attached to the far end of the plank. I've made lutes with extended necks before, but nothing quite like this. I think it's a really cool design, and aesthetically it seems totally of a piece with the refinement of the music that's played on the lute. I found this lute compulsively photographable. (If you'd like to see further evidence of the compulsion, please go to my flickr page.) Most lutes are like a little world unto themselves, and some of them, like this one, seem incredibly vast. They will not be captured by a single photo, or even a hundred. But I try! OK--next lute. We're now into mid-August: Julia and I are back from a short trip to the interior of BC, where we holidayed with my mom and sister, who had driven out from Saskatchewan. The lakes and rivers of the BC interior are beautiful, and we swam in them daily. The air, however, was thick with smoke from wildfires; a new reality, a constant companion in the summers. Back to the coast, where the air is (relatively) clear. This lute is not a new model--it is a 10 course lute based on the body of the Tieffenbrucher archlute, C45 in the Vienna KHM, which I've scaled down to 95% of the original. (The back is 17 ribs of dark, heartwood pacific yew.) I have built a number of 10 course lutes on this model, along with a few 7 and 8 course as well, and all of them have been very successful. Reducing slightly the original size of the body allows a string length of 64 cm (while retaining 9 tied frets) which is a convenient length for stringing in g', either in modern or low pitch. For this lute, my client, Mark Bagley, of Madison, MS, asked me to try to come up with a design that reduced the string length as much as possible, while still tying 9 frets easily. A little squeezing here and there--shortening the neck a little, raising the bridge position just a few millimeters (and correspondingly adjusting the location of soundboard bars and, in consequence, the position of the rose)--gave a string length of 62 cm. A very manageable length for a 10 course lute! One thing that was different about this lute was the suite of veneers that I made for the neck and peg box. Mark had asked for a special look for this lute, so I suggested a design based on the 1609 Magno Dieffopruchar lute, 144 in the Museo Bardini in Florence. Here's what the original looks like (photos by Stephen Gottlieb, courtesy of Grant Tomlinson): And here are some shots of my version. The veneers on the Dieffopruchar are made up of strips of ebony and ivory; my version is made of ebony and english boxwood. Once again, if you'd like to see more photos of this lute, head to my flickr page. I'm kicking myself a bit because I didn't take any (or not many) photos of my process of making these veneers. It is a fairly involved, and time-consuming, procedure to make them, and I would have liked to write a blog post detailing the steps.... Oh, well, I'll save it for next time: I'll be doing another set of veneers like this within the next couple of years, so I'll try to remember to take lots of pics and talk about it then. The rose on this lute is based on the 'knot of Leonardo' design, with a chip-carved border. And now, onto the last lute of the bunch. By this time we're at the end of August (the holidays are done, though we're still taking some last-minute swims in the ocean in Vancouver), and I am finishing this, a 7 course lute based on the 1592 Venere. The string length is 58.5 cm, and the back is of 13 ribs of dark heartwood yew, with sycamore spacers. I had originally begun this lute as a demonstration model for the lute making class at the 2017 LSA Workshop West, in Victoria BC; it wasn't made to order for anyone, but I decided to complete it as part of this batch, and see if someone might be interested. Someone was: a fellow who works in the video game industry here in Vancouver got in touch, and I completed it for him at the end of the month. The neck and peg box are made of some nicely figured cherry I picked up a few years ago. For an unveneered instrument like this, I might ordinarily use pear for the neck and peg box, but I was very happy with the look, feel and weight of the cherry. (It's nice to have a 'spec' instrument once in a while to try out some different woods). The lute itself sounds great, full and rich, with a nice singing treble and lovely bass sound. I really need to make myself one of these lutes one of these years. The rose is based on that of the original 1592 Venere lute. And that is all for recent work. Next post, I will talk about the process of designing and building the 'théorbe de pièces.' I'm onto new projects now: two lutes only this time. Hopefully they'll go reasonably quickly. I'll tell you about them soon!

Фото, автор Cafe_de_Paris на Яндекс.Фотках

Sometimes we see some interesting things. A very important part of the violin, viola, cello, and bass is a dowel of wood called the soundpost which is positioned beneath (and just behind) the bridge foot on the treble string side. This post can be adjusted to make minute (and sometimes dramatic) changes in the tone of the instrument. It is inserted through the top of the instrument through the f-hole using a special s-shaped tool called, appropriately enough, a soundpost setter. Like the bridge, the soundpost stays in place by the tension of the strings pushing down on the top. Sometimes the post is put in too tightly and will not fall down even when the strings are removed. Luckily we rarely see the post glued into place. As you can see in the picture above, the post is still standing even after the top was removed. There is never any reason to glue a soundpost, indeed it can be quite harmful to an instrument to do so. A properly fit soundpost will stay in place and will allow for the best possible tone. Once I even had a soundpost on a bass where someone had driven a finish nail through the top into the soundpost. Definitely not a good idea.

Hi everyone--I have four new lutes to present to you today. You may have already seen pics of these that I posted a month or two ago on Facebook. If that's the case, and I've dragged you here under false pretences by calling this post "Recent Work," well, I'm sorry--you're free to go. However, if you're not in too big a hurry, by all means stick around and I'll try to add a few comments, to make the visit worth your while. I started this group of four in late 2017, hoping to have them finished before the summer of 2018, which I knew was going to be a busy one. I didn't quite get them all done before summer, but instead finished them one at a time, in June, July, and August. I'll present them here in the chronological order of their completion. I always work in groups, usually two or three. I think that there are some efficiencies to be gained by doing the same or similar jobs across a number of instruments (carving roses, making necks, putting backs together, etc.) Once you've taken the time to set up your tools to do a job once, you might as well do it two or three three times and make it worth your while. At least that's the theory.... After working this way a number of times I still think it's true, but there is a limit to how many instruments a person can work on without something like boredom setting in. Four lutes might be the limit for me. Progress in the shop can seem slow at the best of times, but working on a large group means progress often seems to come in very tiny increments. You need to be okay with going into the shop each day and being greeted by a bunch of lutes that don't look like they've moved along very much in quite a while. (I keep expecting the Lute Elves to show up overnight or over the weekend and, say, finish carving the bridges I left half-done for them, but alas they never do....) Luckily, I'm a patient person--I think that's probably very high on the list of qualifications for being a lute maker. And, thankfully, I have clients who are very patient people too. The first lute of the group, finished in late June, was a new model for me: a 6 course with a string length of 54cm, in modern pitch a', for George Moss of Kansas City, MO. It's from a design by Grant Tomlinson, which he based on early-16th century Italian models. I actually built this lute using Grant's mold, which he lent to me; he also sold me the lovely set of German maple ribs for the back, which, according to his notes, he'd sawn in 1982. (I asked him if he'd care to come over to my shop and build the lute for me too, but sadly he declined.) It made a lovely little lute with a very sweet, rich, balanced sound. In my experience, lutes in a' don't generally have a problem making their treble register heard--indeed, they can be a bit overbearing. Not this one, though. I was a little surprised--and pleased--at the presence and warmth of the basses, and in general the balance of sound throughout the register. To me, it sounded not so much like an a' lute, but instead like a really good 6 course lute that just happened to be tuned in a' (if you get what I mean.) Mug shots front and back: the neck, fingerboard and peg box are pear, and the bridge and tuning pegs are plum. The back, as I said, is of German maple, and the belly is one of my finest pieces of alpine spruce. The fingerboard edging is snakewood. As usual, I supplied a number of possible rose designs to my client, and George decided to go with a pattern from a baroque lute--an 11 course, I believe--by Martinus Kaiser (I don't have the date of that lute to hand just now.) As with so many old lute rose patterns, this one works a variation of the Star of David, with twisting vines and leaves contrasting with the geometric basis. This lute was finished in time for me to hand-deliver it to George at the Lute Society of America LuteFest in Cleveland at the end of June. He liked it! I was pleased. Then after the week of lute festivities I returned to Canada to do a little repair work, which you can read about here; then met up with my darling wife Julia for a holiday trip that included stops in Montreal, eastern Ontario, Vermont, New Hampshire, and Rhode Island. Lakes, rivers and oceans were swum in, rare liquors tasted, fine cuisines sampled, and old friends, and new friends, were met. By late July, we were back in Vancouver--and I was back in the workshop, rested, and eager to finish up the next lute. This one was another new model for me: a 'théorbe de pièces,' or 'Lesser French Theorbo,' for Bruce Burchmore of Los Angeles, CA. This project was a lot of fun, and a real challenge. There are so many interesting features to this instrument, and much of its design had to be done pretty much from scratch. I had no museum drawing to work from, and really not much expertise to go on to get me started. I didn't know the instrument, and I didn't know the repertoire. I did a lot of learning along the way, from a whole bunch of teachers and advisers, starting with the very patient Bruce Burchmore, and including Grant Tomlinson, Ray Nurse, and my old friend Nelson Amos. I think there's a tale here, and I'll tell it in my next blog post. Some data: the top string is in d (A=392), and the top two strings are re-entrant (i.e., an octave low.) The string length to the first nut is 72cm, and to the extension 114. There are 14 strings, 8 to the first peg box, and 6 to the extension. The fingerboard, belly edge binding and neck veneer are ebony; and the extension is made of two pieces of English sycamore, dyed black. The belly, as always, is one of my finest sets of European alpine spruce; and the back of the lute is 11 ribs of curly maple. The rose pattern I used is known as the 'Mouton,' since it is taken from the famous painting of the lutenist Charles Mouton by François de Troy. This version of the pattern was drawn by Ray Nurse. Perhaps the most striking feature of this type of lute is its extension, which basically consists of a plank of wood with a cutout for a carved panel at the back of the lower peg box, and a second peg box carved from a separate block of wood, attached to the far end of the plank. I've made lutes with extended necks before, but nothing quite like this. I think it's a really cool design, and aesthetically it seems totally of a piece with the refinement of the music that's played on the lute. I found this lute compulsively photographable. (If you'd like to see further evidence of the compulsion, please go to my flickr page.) Most lutes are like a little world unto themselves, and some of them, like this one, seem incredibly vast. They will not be captured by a single photo, or even a hundred. But I try! OK--next lute. We're now into mid-August: Julia and I are back from a short trip to the interior of BC, where we holidayed with my mom and sister, who had driven out from Saskatchewan. The lakes and rivers of the BC interior are beautiful, and we swam in them daily. The air, however, was thick with smoke from wildfires; a new reality, a constant companion in the summers. Back to the coast, where the air is (relatively) clear. This lute is not a new model--it is a 10 course lute based on the body of the Tieffenbrucher archlute, C45 in the Vienna KHM, which I've scaled down to 95% of the original. (The back is 17 ribs of dark, heartwood pacific yew.) I have built a number of 10 course lutes on this model, along with a few 7 and 8 course as well, and all of them have been very successful. Reducing slightly the original size of the body allows a string length of 64 cm (while retaining 9 tied frets) which is a convenient length for stringing in g', either in modern or low pitch. For this lute, my client, Mark Bagley, of Madison, MS, asked me to try to come up with a design that reduced the string length as much as possible, while still tying 9 frets easily. A little squeezing here and there--shortening the neck a little, raising the bridge position just a few millimeters (and correspondingly adjusting the location of soundboard bars and, in consequence, the position of the rose)--gave a string length of 62 cm. A very manageable length for a 10 course lute! One thing that was different about this lute was the suite of veneers that I made for the neck and peg box. Mark had asked for a special look for this lute, so I suggested a design based on the 1609 Magno Dieffopruchar lute, 144 in the Museo Bardini in Florence. Here's what the original looks like (photos by Stephen Gottlieb, courtesy of Grant Tomlinson): And here are some shots of my version. The veneers on the Dieffopruchar are made up of strips of ebony and ivory; my version is made of ebony and english boxwood. Once again, if you'd like to see more photos of this lute, head to my flickr page. I'm kicking myself a bit because I didn't take any (or not many) photos of my process of making these veneers. It is a fairly involved, and time-consuming, procedure to make them, and I would have liked to write a blog post detailing the steps.... Oh, well, I'll save it for next time: I'll be doing another set of veneers like this within the next couple of years, so I'll try to remember to take lots of pics and talk about it then. The rose on this lute is based on the 'knot of Leonardo' design, with a chip-carved border. And now, onto the last lute of the bunch. By this time we're at the end of August (the holidays are done, though we're still taking some last-minute swims in the ocean in Vancouver), and I am finishing this, a 7 course lute based on the 1592 Venere. The string length is 58.5 cm, and the back is of 13 ribs of dark heartwood yew, with sycamore spacers. I had originally begun this lute as a demonstration model for the lute making class at the 2017 LSA Workshop West, in Victoria BC; it wasn't made to order for anyone, but I decided to complete it as part of this batch, and see if someone might be interested. Someone was: a fellow who works in the video game industry here in Vancouver got in touch, and I completed it for him at the end of the month. The neck and peg box are made of some nicely figured cherry I picked up a few years ago. For an unveneered instrument like this, I might ordinarily use pear for the neck and peg box, but I was very happy with the look, feel and weight of the cherry. (It's nice to have a 'spec' instrument once in a while to try out some different woods). The lute itself sounds great, full and rich, with a nice singing treble and lovely bass sound. I really need to make myself one of these lutes one of these years. The rose is based on that of the original 1592 Venere lute. And that is all for recent work. Next post, I will talk about the process of designing and building the 'théorbe de pièces.' I'm onto new projects now: two lutes only this time. Hopefully they'll go reasonably quickly. I'll tell you about them soon!

In this activities packet, kindergarten or special education students will practice matching instruments, colors, math patterns, uppercase and lowercase alphabet letter matching, number matching, shapes, counting, addition and subtraction. These worksheets work well for early finishers, morning work, homework, bell ringers or as emergency sub plans. Click HERE for birthday and music themed activities. DIGITAL COMPATIBLE:  Through Easel Activities, this product contains an INTERACTIVE PDF. You will be able to annotate and customize it for your distance learning needs. Underlying content is not editable. Your students will complete the digital PDF and submit it to you for review via Google classroom. You may also email or share the printable version with parents over the internet on a password protected website. It may not be shared on sites publicly found and downloaded. Please see the new more flexible distance learning TERMS OF USE during this Coronavirus COVID-19 pandemic, For complete terms of use, PLEASE click Here. ********************************************************* Please click on the STAR above to "Follow Me" and receive updates on new products and free downloads. Please leave feedback to earn TPT credits that can be used on future purchases. Follow me on Facebook. Smalltowngiggles Follow me on Pinterest. Pinterest And if you have time here is a link to my blog Small Town Giggles For more no-prep/low prep cut and paste worksheets, file folders, math, puzzles, coloring pages, life skills products and more, visit my store. Smalltowngiggles Thank you, Rose Hascall Smalltowngiggles ~~~~Purchasing this product grants permission for use by one teacher in his or her own classroom. If you intend to share with others, please purchase an additional license for each teacher at the significantly discounted additional license price when you checkout. ~~~~ Copying any part of this product and placing it on the Internet in any form (even a personal/classroom website) is strictly forbidden and is a violation of the Digital Millennium Copyright Act (DMCA). You may NOT post any of my products on school websites or online anywhere. All products are for single buyer use only and not for commercial use Thank you for shopping my store.