Some builders will actually set the octave string holes in the bridge down a little lower, closer to the soundboard by a fraction of a millimeter; never tried one of those lutes although seen a few- I've done the pushing and tugging bit and gotten a little more control, it does feel better to the touch- with the thumb especially for me.
Dan On Nov 20, 2011, at 10:21 PM, Stephan Olbertz wrote: > 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 <spiffys84...@yahoo.com>: > >> From: Daniel Winheld <dwinh...@comcast.net> >> To: howard posner <howardpos...@ca.rr.com> >> Cc: Lutelist LUTELIST <lute@cs.dartmouth.edu> >> 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? >> > -- >> > >> > To get on or off this list see list information at >> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> >> -- >> > > > -- > Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ > >
