Dear Lex,
I agree with Chris: thumb-out does not inhibite playing through both
strings of a double course.
Neither need (or should) the thumb and finger ends meet using
thumb-out as you suppose: the thumb is slightly forward of the fingers.
Probably the best historic
Hi Martyn,
I agree with Chris: thumb-out does not inhibite playing through both
strings of a double course.
It makes it more difficult to go deeper into the low octave string than the
high octave. What I said is that if thumb and fingers are close (at adjacent
courses) there is the
Ta Lex,
I'm not sure I'm getting this business of the thumb plucking up - I've
presumed you mean away from the belly - but have I got this wrong? If
it is as I've been thinking you meant (ie plucking the string upwards -
away from the belly) doesn't this lead to much slapping of
I'm not sure I'm getting this business of the thumb plucking up - I've
presumed you mean away from the belly - but have I got this wrong? If
it is as I've been thinking you meant (ie plucking the string upwards -
away from the belly) doesn't this lead to much slapping of strings onto
Subject: Re: [VIHUELA] Re: Guitar bridges
That may be the case with the lute - but it is not true that the thumb has
an entirely separate function from the fingers on the guitar.
Campanellas
are the obvious example but it goes much further than that. I don't want
to
get endlessly involved
Thanks again Lex.
But if we pluck THROUGH the course, (ie parallel to the plane of the
belly) one can achieve a much greater amplitude without the string
slapping rattleing on the fingerboard/belly and thus will have a strong
bass (as well as its octave) - as I think, the Old
But if we pluck THROUGH the course, (ie parallel to the plane of the
belly) one can achieve a much greater amplitude without the string
slapping rattleing on the fingerboard/belly and thus will have a strong
bass (as well as its octave) - as I think, the Old Ones would have
generally
Sorry - it's not you that is going batty. It is me being careless
(well - it was late on Saturday night).
I was referring to the Ciaccona which is on p.49 and the actual passage
is towards the end - on p.50, the 3rd stave down. The first full 4
bar variation is played on the
Just to clarify, I didn't mean to say I had trouble fully playing
adjacent double courses. I was talking about trouble when playing
pipipi on the same course.
If anything (for me, at least), to get an even balance of bordon and
treble on a course for p and for i, I would want the
Well, for the last statement -- plucking adjacent courses -- I would
say that it depends on your goal with the body of the right hand. If
the goal is as I've been taught, which is to keep the hand as inert as
possible (which gives it its weight), then you have no choice but to
Subject: Re: [VIHUELA] Re: Guitar bridges
I have looked at the examples. It is true that melodies are spread over
'high' and 'low' courses (5 4 vs 1,2 3). That is different from the
lute, but something similar also occurs on the theorbo.
Well - exactly - and Bartolotti was a theorbo
Normally the fingers and the thumb stay in their own domain, on lower and
higher courses. Also on the guitar.
I don't think so. Certainly not in guitar music. Use of alternating
finger and thumb over different courses is a feature of the music in
Bartolotti's first book and elsewhere.
The piece 'Bobel' is in Princess Anne's 'lute' book and I think it was
Jocelyn Nelson who identified it as the tune Christchurch Bells,
familiar from Playford. Monica transcribed and edited the Playford tunes
in Princess Anne's book and they are downloadable from her ning early
guitar site.
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