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Thank you so much!

Hi! We likely will. We probably will start with Campion and Dowland (just because they are popular) and then expand from there. Some years ago we did a French program that we loved and we would like to do some of those. We have also done a lot of the frottole rep and I would love to do that as well! Here is a link to one of the French ones: th-cam.com/video/wc66Y16WmyU/w-d-xo.htmlsi=QSwsGGjwBO8pCFta

@@bedlamearlymusic7845 Thank you... I am trying to do some songs that I can sing while playing thre lute.

@@tedder1955 ah! That’s great. I might recommend Campion or (if you are comfortable with French) some Chardevoine. The lute parts are a bit simpler so they make for a good warm up to Dowland, the frottole repertoire, and others : )

@@bedlamearlymusic7845 thank u

Here is the link : ) www.patreon.com/bedlamearlymusic/collections

Thank you! : )

Thank you ; )

These old Bedlam videos definitely have a different tone than my Fundamentals! 😂 They were a lot of fun and I miss doing them

Thank you so much!

It is wonderful working with singers! : )

Thank you so very much, that is incredibly kind of you to say! : )

Thank you so much! I loved helping to make this video 😊

Very glad that you enjoyed the video! We hoping to post some more soon : )

Thank you so much! That really makes our day to hear that : )

Thank you so much!

Hopefully we can do it for you live sometime : ) -Laudon

Thank you so much, Chuck : )

Thank you!

Oh wow lol They must have been on another planet....

Thank you!

Thank you!

Thank you so much!

: )

Thank you!

Thank you, that means a lot!

Thank you so much!!

Maybe he suffered depression, but he wrote beautiful pieces of music

He certainly had his low points but also wrote happier music. We have "Awake, Sweet Love" on the list : )

He sure did! : )

Thank you!

Thank you!

Thank you!

Hi, assuming you have a G lute (not an A lute), it would be g, dd, aa, FF, CC, GG (no sharps). The G and C bass strings will have octaves (string closest to the ground when sitting with the instrument) and depending on the repertoire, the F bass can either have an octave or unison. Depending on the size of your lute, you may tune it to A=440, or 415, or something else but that may depend on if you are playing with others. If you are tuning your lute to something other than equal temperament, just be sure that in addition to setting the frets correctly, you also tune the open strings appropriately. Apps like Cleartune can be helpful if you decide to explore meantone. Hope this helps a bit! : )

Thank you! : )

Thank you! At least from what I have read, that shift had occurred by the late 16th century. It is likely that it depended on the person singing it at the time and perhaps how old and where they were from. As you said, there is a lot of overlap and as performers in that situation you have to decide (the problem with recording, you are stuck with that one version!). A quick search produced this (see paragraph 4): chaucer.fas.harvard.edu/pages/great-vowel-shift. Now, I am just a lowly lute player and I imagine the argument is more nuanced than the above source, so I will see if Kayleen wants to weigh in since she did the prep work on the pronunciation all those years ago : ) Laudon

@@bedlamearlymusic7845 I’ve done the bulk of my work in Chaucerian English, and I’m somewhat new to the Shakespearean period. I’ve taken a further look at my research and decided you may be right. One possible caveat, however, is that when originally registered in 1580, Greensleeves was given the name "A Newe Northen Dittye of ye Ladye Greene Sleves" (though when published in 1584 in the volume “A Handefull of pleasant delites” it was called “A new Courtly Sonet of the Lady Green sleeues”). If we take “Northern” to indicate from the north of Britain, we would need to be mindful of some different paths that the Great Vowel Shift took there, if we want to be excruciating authentic.

@@nathanaelculver5308 For sure! It is so hard to make a recording and be stuck with it or not have multiple versions : )When we perform live we can always adjust or experiment, and, of course, update if new information comes out or is discovered. I can't believe it, but I think this was recorded 8 years ago. Whenever we have recorded something, we have taken the mindset to create a performance that was "possible" at the time and that time might not necessary be the moment of the piece's creation. For example, this track was recorded on an album of mostly Thomas Campion's music. One can imagine a singer in the early 17th century singing "Greensleeves" along with Campion's music and it would still be an authentic performance even if it is "set" a bit later than the creation of the music. Anyways, getting into a fairly "meta" discussion of authenticity, but something that is important to discuss with songs that have been performed continuously since their writing! From what I can find, I think it could be performed either way and it would be really interesting if you took it the other way. Share it with us if and when you record it! : ) Cheers- Laudon

Are you looking for a translation into Portuguese or a modern English translation?

Thank you! I think there are a couple reasons why modern players prefer it. First, I think it was very exciting when it was rediscovered in the 1970's and so a lot of very influential players used it. Second, it is quite distinct from modern guitar right hand technique and I think humans love to put things into simple categories like "guitar technique" and "lute technique." The nuances of reality are sometimes hard for us! Finally, I think people just don't read the sources as often as they should. We know that Dowland (among others) used thumb-out and specifically preferred it over thumb-under and yet I would say that the majority of Renaissance lute players use under when playing his music. Thumb-under was definitely the dominate technique in at least the first half of the 16th century but it wasn't the ONLY technique and certainly starts to lose its dominance in the 2nd half of the 16th century, especially on the continent. Anyways, it is a very interesting topic and I am glad you found the video useful! Happy lewting : )

Thank you so much for your insight. I guess because I don’t play the guitar, I don’t worry about people thinking that I’m not using “lute technique “. Did I mention, you guys Rock! 👍

@@ralphmarshall1000 Thank you so much, that means a lot! : )

Thank you!!

: )

Hello! I am a big fan of using nails for ensemble playing. In terms of historical evidence, Thomas Mace mentions that ensemble players use nails in their playing, though the source is quite late (1676, I think?).Piccinini mentions nails as well. For earlier repertoire, there is less evidence but I seriously suspect that some professional players used nails. Francesco da Milano used finger picks so I imagine the sound of nails wouldn’t bother audiences. There are some paintings with players who have nails but who knows if they really played the lute or were just posing? Anyways, The advantages in terms of projection are obvious and if you play in a broken consort, nails really help to get the lute out there. I think the modern “lute sound” has become too homogenized and there was probably much more variety in terms of tone and sound at the time. So have fun experimenting but do prepare yourself for being judged by the more closed-minded listeners! I find it helpful to prepare your defense lol! I am glad the thumb-out position was helpful for you, it is underutilized by the community. : ) Hope this helps a bit!

@@bedlamearlymusic7845 thank you for your reply it was very insightful! I'll keep experimenting. I likely won't cut my nails though eitherway because I prefer it too much for my contemporary guitar music. Although I may try it some day in general. Thank you!