Bach's bass lines play beautifully on an archlute or theorbo with one or more extra courses fretted; with 7c fretted at low C you are covered, and 8 courses either F+C or D+C is a very nice sound. Even with one extra course at D you are covered with a scordatura C sharp in the few pieces that really require it, but 8 fretted gives a great range and resonance. With a 15c theorbo you also have the option of a chromatic note in the long strings. All of my continuo recordings use instruments of this type, although I am using the gallichon as well. There are several very interesting original instruments with seven and eight fretted courses, and even if this is a somewhat later modification it is still excellent for Bach, very satisfying to play. I think players used this disposition early on--to play the bass lines.
Another factor to consider in bass lines is the high range. A sampling of some of the top composers, Purcell, Handel, Scarlatti, Bach, Rameau, shows that the very high B Flat is often called for, in addition to notes fully chromatic to low C and the B flat and A below. Only the archlute, with 7 or eight fretted courses, will extend to the full range of this repertory, and play full chords on top of each note. The theorbo can easily manage the low notes, but not really play full triads up above. Of course various combinations can supply the notes, and in this respect this is along the lines of the "Scarlatti-Violetta" theory, a very important concept in which all gut strung cellos or large violas would essentially share a bass line, the larger instruments playing the low notes and the smaller the upper notes. However,in combination, two theorbos or an archlute and theorbo blend a bit better than a gallichon and a theorbo, although that is a very full sound. The question is whether the blend was more important, and comments about strings seem to imply that it might have been. The theorbo/harp blend is exquisite and more than covers the entire range as well. Another option is the baroque lute. The baroque lute, with extension to the fretted side, has a beautiful sound, wide range chromatic to C, and the lower register as well. More difficult to play, perhaps, due to the narrow spacing, but ultimately rewarding. The gallichon is a nice sound, and I often use it for really large groups with a bigger chorus and orchestra. However, I prefer the archlute/theorbo solution described above for the very simple reason that in my ensembles we do not rely so much on 16 foot pitch, and in one-to-a-part performance style, the lowest octave adds a dramatic and rich color, particularly in situations with no double bass, or with lightly-strung fretted violone or even quint bass. Even in a large, more "modern baroque" setting, the 16 foot is a part of the tone concept and supplies the *missing* 16 foot from the large, later baroque continuo harpsichord. The same is also true for the recits and continuo arias in Bach, Handel, Scarlatti & Vivaldi. The 16 foot adds a vital dimension; I'd sooner part with my smurf collection, especially "theorbo smurf". dt <snip> >> High >>Baroque bass lines do tend to get very chromatic, and the gallichon does >>seem to be the only instrument of the lute family which could play them. >> >>Rob >> >> > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
