I recently learned (thanks to Henrik Hasenfuss) that pushing the octave
string a bit down at the bridge, and pulling the bass a bit up greatly
changes my ability to make a well balanced or even more fundamental sound
with my right hand index finger. The melody line in the Straube Sonatas,
and more so in the Hasse arrangements go down there and I always wondered
if the authors used a unison 6th course. Also all the bass courses gain
from this set-up, less clashes for me...
Best regards
Stephan
Am 21.11.2011, 03:30 Uhr, schrieb sterling price <[email protected]>:
From: Daniel Winheld <[email protected]>
To: howard posner <[email protected]>
Cc: Lutelist LUTELIST <[email protected]>
Sent: Sunday, November 20, 2011 7:10 PM
Subject: [LUTE] Re: Buzzing [was "Gut strings"]
Hi-I often practice this technique--playing only the 6th course
fundamental with the index finger. Then you can have the best of both
worlds.
--Sterling
Seriously, in Weiss I have encountered situations where the part
writing is destroyed (to my ears) by the 6th course octave string
going
above a low lying treble line. And in some cases that 6th course note
is a middle voice, making it all the more difficult to play only the
fundamental and not the octave.
When I need the sound of a 6th course octave, I can often refinger the
note on the 7th course.
Dan
On Nov 20, 2011, at 4:59 PM, howard posner wrote:
> Daniel Winheld wrote, rather virtuosically:
>
>> Howard, you of all people should know that ignorance of the law is
no excuse! But I did exaggerate. 6th course unison on a Baroque lute
is
only an equipment violation. Officer Ed Martin of the LSAPD pulled me
over a few years and issued me a fix-it ticket. I have never gotten a
speeding ticket except on the Renaissance lute, where I've been known
to put the pedal to the medal occasionally. Don't even mention PUI
violations!
>>
>> It's obvious that Jakob was deliberately skirting the letter of the
law & subverting the mores of polite society by having a glamorous &
famous female "Octave Incubater" in his employ, a dubious practice
most
often connected to the decadent European elite.
>>
>> Or he is just an incredibly dedicated & resourceful musician. What
do I know?
>
> More than me. I don't even recall which music Jakob thought
required
a unison 6th course and which required the octaves. I think the
program was all French, which would explain my ignorance/lack of
memory. Maybe he used the unisons for Berlioz, Gounod and Debussy.
But doesn't Boulez need octaves?
> --
>
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