Ed,
I've actually done this - something similar I
rigged up with part of a clothes pin. I thought the
harp-thing might be a little quicker to fasten to the
instrument, though.
Chris
--- Ed Durbrow <[EMAIL PROTECTED]> wrote:
> I wonder if you could make a little portable bridge
> like those used
> on kotos. Since it would be between the strings and
> belly it wouldn't
> even get in the way. It wouldn't need to attach to
> anything. You
> would put felt or something similar on the bottom so
> as not to
> scratch the surface of the theorbo. You would only
> need enough
> pressure to make a node. I just tried this with the
> handle of a
> magnifying glass. It works! This is too easy.
>
> >Michael,
> >
> > Just curious about the harp-like device that
> Tim
> >Crawford mentioned to you for raising a diapason up
> a
> >1/2 step. Would you mind describing it? I've seen
> >these sorts of things on various harps and wondered
> >how it might apply to my situation. Is it
> something
> >that one could rig up on their own? I have a
> >14-course theorbo (only six on the fingerboard) and
> >I'm getting a little annoyed at having to take the
> >instrument off, stand up and re-tune if I need an
> F#
> >or G# consistently in a piece. This can be
> especially
> >distracting to other players in tight quarters.
> > I wonder if the harp-device would attach down
> at
> >the bridge, which would be reasonable as long as it
> >wasn't too big and wouldn't get in the way when it
> >wasn't being used. In that case, you could even
> >engage it while in the course of a piece, given
> enough
> >time. Even if the sound would be somewhat
> >compromised, it would be worth it to avoid some of
> the
> >hastle.
> > I don't know if this would even have been
> >considered in the historical days. At any rate, I
> >think that the "oldens" were more practical than we
> >give them credit sometimes.
> >
> >
> >Chris Wilke
> >--- Michael Stitt <[EMAIL PROTECTED]> wrote:
> >> Hi Donatella,
> >>
> >> I checked out at a glance so far your tab
> version of
> >> BWV 996 and looks nice!
> >>
> >> There has been a real flowering of lute
> tablature of
> >> Bach's music. Clive Titmuss has been active and
> >> completed - quite recently, a playable version
> of
> >> BWV 1012 - the sixth cello suite. For
> beginners
> >> out there - be warned - this is not easy stuff!
> >>
> >> As for 996, it used to be my favourite and not
> too
> >> difficult on the classical guitar. For some
> strange
> >> reason I fnd it very hard on the Baroque lute.
> I
> >> worked out that it is not so much the technical
> >> PLAYING difficulty, but rather the problem of
> >> realisation on my fourteen course theorbo-lute.
> >> Since I note - your instrument, Donatella, is
> also a
> >> swan neck, you too problem run into the
> difficulty
> >> of not having D sharp bass, resulting in an
> >> unavoidable interruption of the passagio -
> opening
> >> prelude. Tim Crawford once gave an interesting
> >> solution to this, which is to attach a device -
> >> similar to one used by harpists, which stops the
> >> string. I haven't quite done this as yet!
> >>
> >> My temporary solution is to play the D# an
> octave
> >> higher, and although not perfect, is acceptable.
> >> You encounter this problem also in the Courante.
> >>
> >> As for the sxth cello suite, this is beautiful
> stuff
> >> on the lute and in the key of D Major makes it a
> >> warm and beautiful work to play. It has been
> said
> >> before that Bach wrote some of his finest and
> >> brighter sounding music in this key. The
> Magnificat
> >> is one such example. The prelude has the same
> >> intensity and virtuosic feel as that of BWV
> 1006a
> > > IMHO.
> > >
> > > Cheers.
> > >
> > > Michael Stitt
> > > http://bachplucked.com/lutenist/
> > >
> > >
> >
> >
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>
> --
> Ed Durbrow
> Saitama, Japan
> http://www9.plala.or.jp/edurbrow/
>
>
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