Jim
That was more or less the position adopted by Mark Wheeler during
the previous discussion (He is also a cittern player). Except that he
also added that he used the thumb to prevent some strings sounding,
if they were accidentally struck, when the strumming went a little
wide of the mark. I think I am correctly quoting his remark. Thus the
thumb was playing a role in contact with the string. He suggested the
thumb position on 5c or 6c string lute could simply be a carry over
from monodic plectrum lute playing.
This could be partly true, but I have seen a modern Oud player using
his thumb to stop the bass string on his three string lute. This may
be also have been carried over from an earlier string dulling
process, in Oud plectrum playing; but he was now "finger-picking",
and if his technique was carried over from an earlier slightly
different tfunction, he was definitely using it to stop the bass
string when he plucked it.
In fact it would be surprising if this sort of adaptation of a
technique did not take place. If you have your thumb "cocked" and at
the ready, but with nothing to do, and then you begin stopping more
than one string simultaneously, it would be surprising if you didn't
use its additional assistance.
That has just reminded me, of something. I seem to remember Stephen
Gottlieb telling me.
I think he told me that he had seen some modern Oud players play
chords, or at least several stopped strings at the same time, in
spite of having no frets. I seem to remember him saying they had
extraordinary technique. This would have been a few years ago, and a
remark in a discussion, so I hope I am not misquoting.
I wonder whether these players (if I remember this correctly) use
thumb over string stopping on the bass strings.
Sean Smith, I think, suggested that the thumb over, could be a sort
of mini-capo, the bass string could be tuned down, somewhat; and the
thumb hold it more or less permanently, so that the lowest string
would hardly ever be open.
I am thinking about this, because on my 7c student lute, which had a
very narrow neck, I was able to tune the 7th string to D, and by
blocking the third fret with my thumb, I could play 7c music of the
type (VII=F) and most 8c music (VII=F,VIII=D). this was convenient
for this sort of pattern:
1(c)
2(d)
3(d)
7(d) = F
However, on my wider Martin Haycock 7c Gerle lute, thumb-over with
this pattern is nigh impossible, and I have stretch across.
Carlos Gonzales, as I said previously, claims that Renaissance string
spacing was much narrower, than at present. If so, some 7c players,
may also done this.
However, it is true that it is not because something is possible that
it certainly happened. As you say, the iconography is only showing
the thumb-over position and not what its function is.
Indeed, I understood that the Capriola text has been given varied
interpretations, not always meaning that the thumb was used to block
the strings. Is it now agreed that this passage does confirm the
thumb-over string blocking "tactic"?
Regards
Anthony
Le 8 nov. 07 à 00:13, <[EMAIL PROTECTED]> a écrit :
Dear All:
I'm sorry, but I must say I'm completely unconvinced by the
iconography "showing" the use of the thumb to stop the fifth or
sixth course. If anyone were to look at a photo of me playing
cittern or five-course plectrum lute, they would see much the same
thing. If one is playing single-line with a plectrum on an
instrument with a narrow neck, that is the most comfortable
position for me, and I suspect many others. And much of the
iconography appears to be from an early date.
Much more convincing are examples of tablature, such as the
Francesco item that Arthur brought up, that would be very difficult
or impossible using standard fingering but feasible using the thumb
on the sixth course.
Just my two cents....
Cheers,
Jim
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