Chris, I'll wont go on after this but will just repeat that the only historical evidence (from me- see earlier) on reentrant theorbo sizes in A or G is for large instruments. If you have anything like the Praetorius, Mace, Picinni, Talbot evidence on large theorbos but clearly relating to smalI instruments in this tuning, I'd like to see it please. MH
[EMAIL PROTECTED] wrote: Martyn, Argh - I get it, you don't agree with my and others' take on the matter. However, I must point out (as others have ad nauseum) that your arguement relies quite heavily on speculation and selective disregard of aspects of the historical record. What I don't like so much is the tone that there is "only one right way." Countering your assertion that the old ones were very clear about the instrument, Praetorius, when talking specifically about the theorbo, had this to say: "Since constant changes take place in these various matters, nothing very definite may be stated about them here." Chris --- Martyn Hodgson wrote: > Oh dear - not again. This is,of course, very > speculative and the weight of evidence is against a > high octave on the second course (mainly because > it'd break on anything approaching a decent sized > continuo theorbo). As explained ad nauseum > elsewhere, the 'Old ones'clearly explain that the > reason for the theorbo was greater 'power'; the > ability to play close seconds and 65 chords very > easily is somewhat outweighed by the limited range > of the instrument. Hence the rise of the archlute > later in the 17th century. > > MH > > [EMAIL PROTECTED] wrote: > Monica, > > --- Monica Hall wrote: > > > > > Well - like baroque guitarists - perhaps > > theorbo-players were willing to > > tollerate the displaced notes in order to enjoy > all > > the other benefits which > > re-entrant tunings conferred upon them! > > > > I doubt it. Many of the benefits of re-entrant > tuning > I mentioned in the last post were useful in making > proper voice leading more feasible without having to > go a lot of awkward technical trouble. Frequent > displaced octaves do not fall into the catagory of > "proper voice leading." > > > You can't have your cake and eat it..... > > > > Quite right. The theorbo with double re-entrant > tuning sacrificed its upper tonal range in exchange > for having more adjacent notes under the fingers. > But > Pittoni and Melli seem to have wanted at least a > taste > of that cake and so added the high octave to their > second course so as to "fake" having more notes. > > Chris > > > ____________________________________________________________________________________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > --------------------------------- > Sent from Yahoo! - a smarter inbox. > -- > ____________________________________________________________________________________ Looking for last minute shopping deals? Find them fast with Yahoo! Search. http://tools.search.yahoo.com/newsearch/category.php?category=shopping --------------------------------- Sent from Yahoo! - a smarter inbox. --
