Le 8 févr. 09 à 20:39, Mathias Rösel a écrit :
> "Anthony Hind" <[email protected]> schrieb:
>> Thus J-barring=bass rider, and fan-barring=swan-necked lutes would be
>> a tendency, but the two sets may not be identical.
>>
>> e.g. Wolfgang Emmerich who has made research on Railich, tells me
>> that Railich's later productions did have fan-barring. Yet these are
>> still rather early compared to Swannecked German lutes.
>>
>> As a lute "amator" that would be one area that interests me, the
>> tonal colours that result from barring, wood choices, and lute
>> shapes.
>> I have communciated with a number of lute makers on that topic, who
>> generally feel that it is difficult to make any exact predictions
>> about whether a particular feature results in a specific sound trait.
>> I regret that there is not more lute tastings, available, however,
>
> You can read with Robert Lundberg
> (http://www.luth.org/books/luteblrb.htm ) that J-bars served to
> brighten
> the sound of dull-sounding gut bass strings of renaissance lutes (the
> same goal as with octave strings) by breaking the fundamental.
>
> As opposed to that, fan barring allows fundamentals to sound unbroken
> which is what baroque lutes with their extended bass registers are
> supposed to feature.
>
> Playing a lute with a J-bar with overspun bass strings nullifies the
> effect of the bar, of course.
Thank you Matthias,
Yes , I do have that excellent and very informative book. I have not,
however, had access to the Lundberg lectures on that topic, which I
understand were very pertinent to our question.
Wolfgang Emmerich gave me almost the same explanation, for J-barring
versus fan-barring; however, he implied there could have been a
musical taste issue beyond stringing.
"Generally the j-bars on Renaissancelutes were used to break the bass
into its treble-parts to keep the leading role especially of the
chantarelle - to have an optimal balance between treble and bass.
With fan-barring the bass gets stronger and accordingly treble loses
in relation towards a stronger bass. But in later baroque music it
must have been more important to" revel " in chords."
However, he also added:
generally I would not overestimate the difference between the two
barrings. On some models I tried both barrings achieving similar
results - in the end I could compensate one disadvantage of one type
of barring by other measures.
But generally I would suggest a j-bar both for 10c and 11c lutes or
both in one (for 10c music and 11c French Baroque music ).
On the other hand -for example my first copy of the Raillich 1669 -
was fantastic for the same purposes. What suited these kinds of
music so well was the direct speaking and almost no echo. In this
case also the fan-barring works. With this model I would recommend
(against the rule! ) fan-barring.
(The Lindberg Railich, also comes to mind in relation to the second
part of Wolfgang's message).
I think both explanations are compatible (musical motivation or
string technology). Perhaps, fan-barring really took off when demi-
filé began to be popular. However, I don't think that demi-filé are
as bright as some full wirewounds. Although, Miguel claims that the
sustain is greater than with Aquila type D Nylgut wirewounds.
For the tonal difference, you can compare MP3 of loaded basses and
Open-wound, here:
1) Loaded http://www.aquilacorde.com/loaded.mp3
2) Open wound http://www.aquilacorde.com/barocco.mp3
Do not consider that this is actually very close to the sound of
these strings, but comparing the two, you do have some idea of a
relative tonal difference (the lute in both cases, I believe is J-
barred, however).
I notice this is different from how Miguel Serdoura perceives the
tonal difference between J-barring and Fan-barring
Anthony
> --
> Mathias
>
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