This thread reminds me of what my music theory professor
once told me about composition: "If it sounds good, it's good."
Given that no two lutes and no two lutenists are the same, it
is entirely possible that what works for one player on their
instrument may not work for a different player on their instrument.
Plus, there is the difference between playing for yourself or
family in a small room, and trying to be heard solo or amongst other
instruments in a large space. As Mace says, one may have to
sacrifice "sweetness" for projection - nails and plectra probably
producing more high frequencies and "white noise" which carry
farther, provide articulation, and are more easily heard.
There is also the matter of personal taste: what sounds good to
me may not sound good to another. There can be more than one
"correct" way to do anything. One person's trash is another's
treasure.
Personally, I am always my own worst critic and am still working on
getting results that please me on my lute instead of "hellish, jarring
sounds."
Thanks everybody for all of your insights. It's good to be able to
learn
form others' knowledge and experience.
All the best,
Tom
Date sent: Fri, 13 Dec 2013 15:10:03 +0000
From: "Braig, Eugene" <brai...@osu.edu>
However, once again, Mace offers this advice in acknowledging the
antecedent: "strike . . . your strings with your nails, as some do,
who maintain it the best way to play." Mace's implication is that
nail play was also commonplace and that tastes on this topic varied.
Eugene
-----Original Message-----
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Bruno Correia Sent: Thursday, December 12, 2013 9:40 PM To:
List LUTELIST Subject: [LUTE] Mace
The reason, why the nails are not so good to draw sounds with, as
the flesh.
But on doing of this, take notice, that you strike not your strings
with your nails, as some do, who maintain it the best way to play,
but I do not; and for this reason; because the nail cannot draw so
sweet a sound from a lute, as the nibble end of the flesh can do.
I confess in a consort, it might do well enough, where the
mellowness (which is the most excellent satisfaction from a lute)
is lost in the crowd; but alone, I could never receive so good
content from the nail, as from the flesh; (however, this being my
opinion) let others do, what seems best to themselves.
Thomas Mace (London, 1676).
Pretty good advice from the English master.
--
Bruno Figueiredo
Pesquisador autonomo da pratica e interpretac,ao
historicamente informada no alaude e teorba.
Doutor em Praticas Interpretativas pela
Universidade Federal do Estado do Rio de Janeiro.
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Tom Draughon
Heartistry Music
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