In regard to the archlute & Liuto Attiorbato: What do we know about octave (or unison) stringing of the lowest pitched courses on the fingerboard? Any mention in Piccinini or other original sources? Next part of the question, how are living and breathing performers handling this stringing decision?
I am still tinkering with a small arch-thing conversion (from an old, small 10 course) that I've had for about a year now. For solo and song accompaniment use only. Single diapasons, up to 7 maximum, at about 97 cm. 64 cm. string length on the fingerboard, with enough pegs, grooves, & holes for up to 8 courses (single treble). I have had it as a 7 x 7, 8 x 6, and now in a non-historic tuning as 8 x 5. Viel ton, F and D on the fingerboard as if it was a typical 8 course lute, then to the upper pegbox with a re-entrant E(or Eb), C, B, A, G. Copper overspun, too short for plain diapason gut (especially without 8ve strings). "G" pitch, A=415. It is obvious that I am trying to cheat and get a late Renaissance lute with archlute benefits in one convenient package; there being not enough space, time, or money for all the lutes on my wish list. At this time gut octaves on F & D, (copper overspun fundamentals)- and am also considering an octave on the 6th as well. The chordal blends & accompanied treble lines sound wonderful, but single line basses can be a touch bizarre, like two or three different singers sequentially handling a passagio intended for one performer. Of course, any transition across the ranges will have an abrupt event at the register change no matter what the stringing, part of the territory to some degree. Many thanks for your consideration- Dan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
