--- Monica Hall <[EMAIL PROTECTED]> wrote:
> 
> I would suggest that  you start off first and
> foremost by asking what would 
> work in practice with the kind of strings which
> might have been available in 
> the 17th century.
> 

This is the elephant in the room, though!

With all due respect to the researchers and excellent
practical string makers active today, our knowledge of
exactly how gut strings where made is incomplete. 
Since many of the procedures entailed in making any
particular type of string were special to a specific
region, and since large portions of this knowledge was
kept a closely guarded secret from their own
contemporaries by the guilds and master/apprentice
relationship even in the ancient days, we may never
know exactly what gut strings were capable of.  

Endeavoring to speculate on the stringing - and, by
extension in this case, the implied character of the
music itself - based upon our modern reconstructions
of early strings is an extremely dangerous enterprise.
 Such speculations are valuable only so much as they
offer possibilities, not absolutes.

We have to be careful of making the tautological
declaration that the pyramids can't possibly exist
because we have no recorded evidence that all the
technology to build them was available at the time.

Chris


> This is surely the reason why the 1st and 2nd
> courses on the theorbo were 
> tuned down an octave - at least that is what I have
> always understood. 
> Tuning them to the upper octave was incompatible
> with the string length.
> 
> You seem to be suggesting that instrumental music
> was still essentially the 
> same as vocal music in the 17th century but surely
> the whole point is that 
> instruments have their own idioms which reflect what
> they are capable of. 
> They don't simple imitate vocal music - even when
> they are accompanying it.
> 
> Have you ever tried singing Bach's unaccompanied
> violin sonatas?  Or John 
> Bull's keyboard music?
> 
> Monica
> 
> 
> 
> 
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>
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> 



      
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