I agree, Leonard. When confronted with this sort of thing (in
Attaignant, Dalza, etc.):
________a_c________________
____c_d______________a_c___
_________________c_d_______
__a_______a________________
_______________a_______a___
___________________________
or more spectacularly in Spinacino:
________________________
___________________|____
___c_e_f_e_f_e_c_e_|____
___________________|____
___________________|_c__
___________________|____
I have usually advised pupils to play the "missing" note if they don't
have an octave string,
or make sure the octave is clearly heard if they do.
Martin
On 28/11/2011 01:55, Leonard Williams wrote:
A rank amateur observation on octave s for the fifth course:
I play mainly 16th c. music on my 8-course lute. I tried octave
stringing on 5, because I saw/heard situations where it just seemed right.
However, I didn't like the sound of it on my instrument--could never get
used to it; so, back to unisons. However, playing some earlier Italian
pieces (like Capirola), I found that those places that seemed to want the
octave sounded fine (to my ear) if I worked in the octave on a different
course: eg, an open 5 (c) jumping to an open 3 (d') seemed to benefit by
playing d fret on 3 (c') along with the open 5. Not, I suppose, as subtle
as an octave string, but it seems to work.
Assuming my description is comprehensible--is this perhaps a
legitimate way to deal with that octave stringing business?
Thanks and regards,
Leonard Williams
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