I would like to comment on the concept presented by Dana in the phrase situated in the middle of the paragraph: "weak/strong accentuation... some continuity of sound": Weak/strong accentuation: This is a most important topic, which needs to be cultivated carefully and continously when playing music, specially early one. Diastole/sistole, tension/relax, expansion/contraction, inhalation/exhalation, weak/strong: it is the pulse, the breathing, that impulses the music forward, keeping it in movement. It is directly related with dance. It is something _different_than sound, therefore. At the end it does not matter how many fingers were involved, the important thing is the impulse, the 'cinetisme', but as a living being, not as a machine. It is not natural that every single note is like the one coming before and after it in intensity, force and volume. Saludos from Barcelona, Manolo Laguillo
[EMAIL PROTECTED] wrote: >On Wed, May 2, 2007, Anthony Hind <[EMAIL PROTECTED]> said: > > > >>Might there have been a moment, between plectrum picking and the full >>adoption of three finger technique, in which first thumb and index >>was used only; then thumb index and medium, only, before thumb index >>medium and ring were adopted; or would the passage have been directly >>from plectrum, to this last more complete technique? >> >> > >Unfortunately, we have very little in the way of 15c and early 16c >tablature, it is difficult to know when (if) plectrum use yielded to >fingers. It is clear that the weak/strong accentuation was retained when >plectra were discarded for fingers, so some continuity of sound was >retained. I suspect each teacher had a region of influence both >geographically and time-wise; musical technique tends to be conservative. > > -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
